Hawaii Craftsmen 2023 Annual Statewide Exhibition Program
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About This Presentation
Exhibition Catalog for Hawaii Craftsmen's 2023 Annual Statewide Exhibition.
Slide Content
Annual
Statewide
Exhibition
2023
Statewide
Exhibition
2023
A nAA
Annual
Statewide
Exhibition
2023
Annual
Statewide
Exhibition
2023
2 3
Copyright © 2023 by Hawaiʻi Craftsmen
All rights reserved. No part of this publication may be reproduced,
stored in a retrieval system or transmitted in any form or by any
means electronic, mechanical, photocopying, or otherwise, without the
written permission of the publisher.
Cover Image:
V. Lee Cabanilla
Laka and the Fire
Salvaged Koa wood
Lānaʻi
First published 2023
1110 Nuʻuanu Avenue
Honolulu, HI 96817
[email protected]
808-521-3282
www.HawaiiCraftsmen.org
Copyright © 2023 by Hawaiʻi Craftsmen
All rights reserved. No part of this publication may be reproduced,
stored in a retrieval system or transmitted in any form or by any
means electronic, mechanical, photocopying, or otherwise, without the
written permission of the publisher.
Cover Image:
V. Lee Cabanilla
Laka and the Fire
Salvaged Koa wood
Lānaʻi
First published 2023
1110 Nuʻuanu Avenue
Honolulu, HI 96817
[email protected]
808-521-3282
www.HawaiiCraftsmen.org
E 5
Exhibition Introduction
The Hawaiʻi Craftsmen Statewide Exhibition is an annual event that
has been held on Oʻahu for 57 consecutive years to showcase the 6nest
traditional and contemporary craft from across the state of Hawaiʻi.
Each year we bring a guest juror to the islands to jury work in person,
and make public presentations to the community at large.
Our 2023 juror was Beth C. McLaughlin, Artistic Director and Chief
Curator at Fuller Craft Museum in Brockton, Massachusetts. In early
September, she embarked on an intense 6ve day journey across the
state to blind jury the 537 entries from 206 Hawaiʻi artists, and to
designate the 22 awards totaling over $12,000. A di=cult task by any
measure, Ms. McLaughlin accomplished this with grace,
professionalism, and an extraordinary attention to detail.
What you see on these pages are 106 artworks by 99 artists selected
from Hawaiʻi Island, Kauaʻi, Lānaʻi, Maui, Molokai, and Oʻahu. We
are especially proud that 2023 marks the second year that we have had
more participation from the neighbor islands than from Oʻahu. This is
an important marker for us as we continually strive to support artists
from across the entire state.
This exhibition is entirely run by volunteers, and we thank our
neighbor island chairs Jake Boggs, Shannon Hiramoto, Jennifer
Owen, and Paula Scott for their extraordinary eAort in making this
project run so smoothly; Forest Leonard for leading the installation
team; and over 100 volunteers who helped out with everything from
start to 6nish. This exhibition belongs to all of you.
Māhalo nui loa,
Christopher Edwards and Pamela McCleave
Hawaiʻi Craftsmen Annual Statewide Exhibition 2023 co-chairs
douoIcIhtJo’sSab he morhAsosbuIwbhMālInIsIH hʻCʻf
September 30 – October 28, 2023
Downtown Art Center, Honolulu, HI
Hawaiʻi Craftsmen Annual Statewide Exhibition 2023 award winners
(not all pictured). Image: Tracy Chan/Downtown Art Center.
Exhibition Introduction
The Hawaiʻi Craftsmen Statewide Exhibition is an annual event that
has been held on Oʻahu for 57 consecutive years to showcase the 6nest
traditional and contemporary craft from across the state of Hawaiʻi.
Each year we bring a guest juror to the islands to jury work in person,
and make public presentations to the community at large.
Our 2023 juror was Beth C. McLaughlin, Artistic Director and Chief
Curator at Fuller Craft Museum in Brockton, Massachusetts. In early
September, she embarked on an intense 6ve day journey across the
state to blind jury the 537 entries from 206 Hawaiʻi artists, and to
designate the 22 awards totaling over $12,000. A di=cult task by any
measure, Ms. McLaughlin accomplished this with grace,
professionalism, and an extraordinary attention to detail.
What you see on these pages are 106 artworks by 99 artists selected
from Hawaiʻi Island, Kauaʻi, Lānaʻi, Maui, Molokai, and Oʻahu. We
are especially proud that 2023 marks the second year that we have had
more participation from the neighbor islands than from Oʻahu. This is
an important marker for us as we continually strive to support artists
from across the entire state.
This exhibition is entirely run by volunteers, and we thank our
neighbor island chairs Jake Boggs, Shannon Hiramoto, Jennifer
Owen, and Paula Scott for their extraordinary eAort in making this
project run so smoothly; Forest Leonard for leading the installation
team; and over 100 volunteers who helped out with everything from
start to 6nish. This exhibition belongs to all of you.
Māhalo nui loa,
Christopher Edwards and Pamela McCleave
Hawaiʻi Craftsmen Annual Statewide Exhibition 2023 co-chairs
douoIcIhtJo’sSab he morhAsosbuIwbhMālInIsIH hʻCʻf
September 30 – October 28, 2023
Downtown Art Center, Honolulu, HI
Hawaiʻi Craftsmen Annual Statewide Exhibition 2023 award winners
(not all pictured). Image: Tracy Chan/Downtown Art Center.
6 7
It’s been my great pleasure to serve as juror for the uxcxrJri’dxsoSa biebbmxAiwoxo crt iMānrlrorHbi
ʻCʻf. During my 6ve-island tour, I experienced the artwork, culture, beauty, and people of
Hawaiʻi. I am grateful for such an immersive jurying process and for the opportunity to view
the craft achievements of the Aloha State.
The task of evaluating 537 submissions was rigorous, enlightening, and highly rewarding. My
approach identi6ed works that demonstrated exceptional technical skill, an understanding of
the material, and a focused point of view. I also aimed for an overall balance of craft media,
tradition and innovation, and state-wide representation. The directive to only accept
approximately 20% of the total submissions meant that many strong pieces did not make it into
the 6nal presentation. The decisions were di=cult, and I thank all the artists for the privilege
of viewing their artworks.
There were relevant themes that emerged during the in-person and online review. Several
artists addressed the recent wild6res on Maui, using material and artistry to respond to the
devastation. Others explored subjects with special resonance in the wake of tragedy, such as
community, loss, and resilience. With their creative insights and material intelligence, craft
artists are particularly suited to making sense of the world around us, and those in the ebbmxAi
woxo crt iMānrlrorHb are no exception.
I discovered many artists integrating native materials in meaningful ways, their forms
reIecting a powerful connection between artful expression and the natural world. It was a
delight to view objects carefully composed with Koa wood, ʻopihi shells, Kapa 6ber, wana
remnants, and more. I am grateful to have learned about the innovative use of these organic
elements and their power to connect the people and the land of Hawaiʻi.
Abundant thanks go to the Hawaiʻi Craftsmen organization for this extraordinary opportunity.
I am especially grateful to Christopher Edwards and Pamela McCleave for the invitation to jury
and for their eAorts in organizing the complex details of my visit. In my heart I hold much
gratitude for the individuals who extended the aloha spirit during my time in Hawaiʻi, in
particular Paula and Mark Scott, Jennifer Owen, Neida Bangerter, Kevin Omuro and Steve
Hire, Jake Boggs, Ashley Raymond, Miho Morinoue, Juliette Puplava, A.Kimberlin Blackburn,
Shannon Hiromoto, Ruth and John Savage, and Hugh Jenkins and Stephanie Ross. And
6nally, I congratulate the artists selected for the exhibition, and I thank all the applicants for
sharing their work with me. Your creative voices are essential to the rich culture of Hawaiʻi
and a vital part of the greater craft ecosystem.
– Beth McLaughlin, September 2023
Juror’s Statement
Beth C. McLaughlin is Artistic Director
and Chief Curator at Fuller Craft Museum
in Brockton, Massachusetts. Beth has held
leadership and curatorial roles in the arts
and museum 6elds for nearly 30 years at
institutions across the U.S., including
Fuller Craft Museum, Oakland Museum of
California, and DeCordova Sculpture Park
and Museum. She has curated and
organized over 50 exhibitions and has
served as a juror for a number of cultural
organizations, including American Craft
Council, Massachusetts Cultural Council,
and Fiber Art Now. Beth has been
published in several books and periodicals,
such as American Craft Magazine, Crafting
Democracy: Fiber Arts and Activism, and the
Decorative Arts Society Newsletter. She was a
nominee for 2021 Boston Design Week’s
Social Impact Award and currently serves
on the Advisory Board for the Craft for
Social Change book series. Beth is
passionate about expanding awareness of
the craft 6eld, promoting the makers, and
exploring the transformative powers of
handmade objects.
It’s been my great pleasure to serve as juror for the uxcxrJri’dxsoSa biebbmxAiwoxo crt iMānrlrorHbi
ʻCʻf. During my 6ve-island tour, I experienced the artwork, culture, beauty, and people of
Hawaiʻi. I am grateful for such an immersive jurying process and for the opportunity to view
the craft achievements of the Aloha State.
The task of evaluating 537 submissions was rigorous, enlightening, and highly rewarding. My
approach identi6ed works that demonstrated exceptional technical skill, an understanding of
the material, and a focused point of view. I also aimed for an overall balance of craft media,
tradition and innovation, and state-wide representation. The directive to only accept
approximately 20% of the total submissions meant that many strong pieces did not make it into
the 6nal presentation. The decisions were di=cult, and I thank all the artists for the privilege
of viewing their artworks.
There were relevant themes that emerged during the in-person and online review. Several
artists addressed the recent wild6res on Maui, using material and artistry to respond to the
devastation. Others explored subjects with special resonance in the wake of tragedy, such as
community, loss, and resilience. With their creative insights and material intelligence, craft
artists are particularly suited to making sense of the world around us, and those in the ebbmxAi
woxo crt iMānrlrorHb are no exception.
I discovered many artists integrating native materials in meaningful ways, their forms
reIecting a powerful connection between artful expression and the natural world. It was a
delight to view objects carefully composed with Koa wood, ʻopihi shells, Kapa 6ber, wana
remnants, and more. I am grateful to have learned about the innovative use of these organic
elements and their power to connect the people and the land of Hawaiʻi.
Abundant thanks go to the Hawaiʻi Craftsmen organization for this extraordinary opportunity.
I am especially grateful to Christopher Edwards and Pamela McCleave for the invitation to jury
and for their eAorts in organizing the complex details of my visit. In my heart I hold much
gratitude for the individuals who extended the aloha spirit during my time in Hawaiʻi, in
particular Paula and Mark Scott, Jennifer Owen, Neida Bangerter, Kevin Omuro and Steve
Hire, Jake Boggs, Ashley Raymond, Miho Morinoue, Juliette Puplava, A.Kimberlin Blackburn,
Shannon Hiromoto, Ruth and John Savage, and Hugh Jenkins and Stephanie Ross. And
6nally, I congratulate the artists selected for the exhibition, and I thank all the applicants for
sharing their work with me. Your creative voices are essential to the rich culture of Hawaiʻi
and a vital part of the greater craft ecosystem.
– Beth McLaughlin, September 2023
Juror’s Statement
Beth C. McLaughlin is Artistic Director
and Chief Curator at Fuller Craft Museum
in Brockton, Massachusetts. Beth has held
leadership and curatorial roles in the arts
and museum 6elds for nearly 30 years at
institutions across the U.S., including
Fuller Craft Museum, Oakland Museum of
California, and DeCordova Sculpture Park
and Museum. She has curated and
organized over 50 exhibitions and has
served as a juror for a number of cultural
organizations, including American Craft
Council, Massachusetts Cultural Council,
and Fiber Art Now. Beth has been
published in several books and periodicals,
such as American Craft Magazine, Crafting
Democracy: Fiber Arts and Activism, and the
Decorative Arts Society Newsletter. She was a
nominee for 2021 Boston Design Week’s
Social Impact Award and currently serves
on the Advisory Board for the Craft for
Social Change book series. Beth is
passionate about expanding awareness of
the craft 6eld, promoting the makers, and
exploring the transformative powers of
handmade objects.
8 9
Sponsored by Sharon Twigg-Smith:
The Thurston Twigg-Smith Best in Show Award – $3,000
Sheri Levin McNerthney, I Smell Smoke, Handwoven cotton, Maui
Sponsored by Elizabeth Rice Grossman:
The Elizabeth Rice Grossman Award of Excellence – $2,000
Stephen Hynson, Koa Chest - Hawaiian Quilt Series: Lokelani, Hawaiian koa, amboyna, wenge, Maui
Sponsored by the Peter Drewliner Trust:
The Charles E. Higa Memorial Award of Excellence – $1,000
Esther Shimazu, ’nrAA, Ceramic, Oʻahu
Merit Award in Ceramic Arts – $250
Daven Hee, Textured Closed Form, Ceramic, Oʻahu
Merit Award in Fiber Arts – $250
Margaret Teruya, Hoʻomaluhia Mauka, Fiber, fabrics, Oʻahu
Merit Award in Glass Arts – $250
Daniel Moe,Insight, Glass, steel, Hawaiʻi Island
Merit Award in Metal Arts – $250
Hannah Shun, Embraced, Sterling silver, Oʻahu
Merit Award in Mixed Media Arts – $250
Hiroko Sakurai, ICE, Silk, paper, wood, ink, dye, mineral pigment, Oʻahu
Merit Award in Wood Arts – $250
V. Lee Cabanilla, Laka and the Fire, Salvaged koa, Lānaʻi
Sponsored by Cathy Cooke:
The Sam and Mary Cooke Memorial Award – $500
Leleo Kinimaka, Alaia, Wood, Oʻahu
Sponsored by the John Young Foundation:
The John Young Award – $500
Christopher Edwards, #158. Wana Lei, Ceramic, wire, Oʻahu
Sponsored by the Timothy Y. C. Choy Fund of the Hawaiʻi Community Foundation:
The George Ellis Award – $500
Devin Campbell, Captivated Paradise #5, Porcelain, gold luster, Oʻahu
The Carol and Malcolm Koga Emerging Artist Award – $500
Maree von Sonn, Koi Pond with Lotus, Glass, Maui
Diane Chen Koch Weser Award for Collaborative Work – $500
Mydock with Isla Harmon, Aloha Reef, Jacaranda, koa, colored pyrography,
Hawaiʻi Island
Virginia McGargahan Award of Excellence in Raku – $500
Kate & Will Jacobson, Jewels of the Sea, Ceramic, Hawaiʻi Island
Sponsored by MaryAnne Long:
Earle F. Long Memorial Award for Woodturning – $300
Paul Pyzyna, Water and Wine, Sassafras, wenge, maple, Maui
Sponsored by the Hawaiʻi Handweavers Hui:
The Hawaiʻi Handweavers Hui Award – $250
Susan Mori, Oculus Imagined, Handwoven linen and wool, Hawaiʻi Island
Sponsored by friends of Kay Mura:
The Sayoko Kay Mura Student Award for Excellence – $250
Stephan Ogasawara, SPATE, Ceramic, Oʻahu
Sponsored by Michael Schnack:
The Cedar Street Galleries Award – $250
Jason Liu, Post Stroke Makau Aftermath, Koa, Molokai
Sponsored by Mara Fujihira:
The <shcake Award – $250
Fia Richmond, Tulip Dance, Pâte de Verre glass, Kauaʻi
Sponsored by the Garden Island Arts Council:
The Garden Island Arts Council Annual Artist Award – $250
Kamakana Bray, Mamaakualono, Kamani, Kauaʻi
Sponsored by the Kent Family Trust and Kenny Kicklighter:
The Ron and Myra Kent Award for Creative Innovation – $200
Page Chang, He Pūko‘a Kani ‘Āina (The Coral Reef that Becomes an Island),
Homegrown wauke 6ber and kapa, homemade native and natural dyes,
cotton and wauke threads, Oʻahu
Congratulations to our 22 award winners
and sincere gratitude for our award
sponsors who have consistently supported
the recognition and celebration of the
highest level of craft being produced
across the state of Hawaiʻi.
Awards
Sponsored by Sharon Twigg-Smith:
The Thurston Twigg-Smith Best in Show Award – $3,000
Sheri Levin McNerthney, I Smell Smoke, Handwoven cotton, Maui
Sponsored by Elizabeth Rice Grossman:
The Elizabeth Rice Grossman Award of Excellence – $2,000
Stephen Hynson, Koa Chest - Hawaiian Quilt Series: Lokelani, Hawaiian koa, amboyna, wenge, Maui
Sponsored by the Peter Drewliner Trust:
The Charles E. Higa Memorial Award of Excellence – $1,000
Esther Shimazu, ’nrAA, Ceramic, Oʻahu
Merit Award in Ceramic Arts – $250
Daven Hee, Textured Closed Form, Ceramic, Oʻahu
Merit Award in Fiber Arts – $250
Margaret Teruya, Hoʻomaluhia Mauka, Fiber, fabrics, Oʻahu
Merit Award in Glass Arts – $250
Daniel Moe,Insight, Glass, steel, Hawaiʻi Island
Merit Award in Metal Arts – $250
Hannah Shun, Embraced, Sterling silver, Oʻahu
Merit Award in Mixed Media Arts – $250
Hiroko Sakurai, ICE, Silk, paper, wood, ink, dye, mineral pigment, Oʻahu
Merit Award in Wood Arts – $250
V. Lee Cabanilla, Laka and the Fire, Salvaged koa, Lānaʻi
Sponsored by Cathy Cooke:
The Sam and Mary Cooke Memorial Award – $500
Leleo Kinimaka, Alaia, Wood, Oʻahu
Sponsored by the John Young Foundation:
The John Young Award – $500
Christopher Edwards, #158. Wana Lei, Ceramic, wire, Oʻahu
Sponsored by the Timothy Y. C. Choy Fund of the Hawaiʻi Community Foundation:
The George Ellis Award – $500
Devin Campbell, Captivated Paradise #5, Porcelain, gold luster, Oʻahu
The Carol and Malcolm Koga Emerging Artist Award – $500
Maree von Sonn, Koi Pond with Lotus, Glass, Maui
Diane Chen Koch Weser Award for Collaborative Work – $500
Mydock with Isla Harmon, Aloha Reef, Jacaranda, koa, colored pyrography,
Hawaiʻi Island
Virginia McGargahan Award of Excellence in Raku – $500
Kate & Will Jacobson, Jewels of the Sea, Ceramic, Hawaiʻi Island
Sponsored by MaryAnne Long:
Earle F. Long Memorial Award for Woodturning – $300
Paul Pyzyna, Water and Wine, Sassafras, wenge, maple, Maui
Sponsored by the Hawaiʻi Handweavers Hui:
The Hawaiʻi Handweavers Hui Award – $250
Susan Mori, Oculus Imagined, Handwoven linen and wool, Hawaiʻi Island
Sponsored by friends of Kay Mura:
The Sayoko Kay Mura Student Award for Excellence – $250
Stephan Ogasawara, SPATE, Ceramic, Oʻahu
Sponsored by Michael Schnack:
The Cedar Street Galleries Award – $250
Jason Liu, Post Stroke Makau Aftermath, Koa, Molokai
Sponsored by Mara Fujihira:
The <shcake Award – $250
Fia Richmond, Tulip Dance, Pâte de Verre glass, Kauaʻi
Sponsored by the Garden Island Arts Council:
The Garden Island Arts Council Annual Artist Award – $250
Kamakana Bray, Mamaakualono, Kamani, Kauaʻi
Sponsored by the Kent Family Trust and Kenny Kicklighter:
The Ron and Myra Kent Award for Creative Innovation – $200
Page Chang, He Pūko‘a Kani ‘Āina (The Coral Reef that Becomes an Island),
Homegrown wauke 6ber and kapa, homemade native and natural dyes,
cotton and wauke threads, Oʻahu
Congratulations to our 22 award winners
and sincere gratitude for our award
sponsors who have consistently supported
the recognition and celebration of the
highest level of craft being produced
across the state of Hawaiʻi.
Awards
10 11
Amber Aguirre
The Co?ee Cup
Porcelain, stains, glazes, brass, plexiglass, wood
9" x 4" x 10"
Hawaiʻi Island
Reid Anderson
Greene and Greene Side Tables
Mahogany, ebony
22" x 14" x 14" (2)
Maui
The Co?ee Cup is a social statement about
6nancial inequity. It uses the vehicle of the
coAee cup to illustrate how diAerent economic
groups use the same cup.
These Greene and Greene style side tables are
designed to go into any Arts and Crafts styled
home. Pair with your favorite rocking chair or
bench or use as a plant stand or nightstand.
The solid mahogany top with breadboard ends
and pillowed ebony accents sits upon a hand
pierced mahogany frame. The gently tapered
legs are secured together with cloudlift sculpted
stretchers.
Amber Aguirre
The Co?ee Cup
Porcelain, stains, glazes, brass, plexiglass, wood
9" x 4" x 10"
Hawaiʻi Island
Reid Anderson
Greene and Greene Side Tables
Mahogany, ebony
22" x 14" x 14" (2)
Maui
The Co?ee Cup is a social statement about
6nancial inequity. It uses the vehicle of the
coAee cup to illustrate how diAerent economic
groups use the same cup.
These Greene and Greene style side tables are
designed to go into any Arts and Crafts styled
home. Pair with your favorite rocking chair or
bench or use as a plant stand or nightstand.
The solid mahogany top with breadboard ends
and pillowed ebony accents sits upon a hand
pierced mahogany frame. The gently tapered
legs are secured together with cloudlift sculpted
stretchers.
12 13
Robin Appasamy
Passages
Kozo paper, organic beeswax, collage substrate,
birch panel
18" x 36" x 2.5" (2) diptych
Oʻahu
Arabella Ark
Tea Temple
Ceramic
26" x 17" x 6"
Molokai
Kozo Collection is a meditative series created to
evoke light-6lled, self-reIective thoughts. My
intention is to draw in the viewer and take
them on a journey through the golden kozo
layers. The all-white and warm natural beeswax
tones usher in a sense of calm and quietness
that allows the thoughts to become peaceful and
positively self-reIective.
Tall, elegant, ornamental tea vessel of clay and
6ber, with a temple motif on a ceramic
pedestal.
Robin Appasamy
Passages
Kozo paper, organic beeswax, collage substrate,
birch panel
18" x 36" x 2.5" (2) diptych
Oʻahu
Arabella Ark
Tea Temple
Ceramic
26" x 17" x 6"
Molokai
Kozo Collection is a meditative series created to
evoke light-6lled, self-reIective thoughts. My
intention is to draw in the viewer and take
them on a journey through the golden kozo
layers. The all-white and warm natural beeswax
tones usher in a sense of calm and quietness
that allows the thoughts to become peaceful and
positively self-reIective.
Tall, elegant, ornamental tea vessel of clay and
6ber, with a temple motif on a ceramic
pedestal.
14 15
Brooke Auchincloss
UnBred
Ceramic
12" x 6" x 6"
Maui
Valerie Beck
Kealakekua Bay
Glass
14" x 14" x 3"
Hawaiʻi Island
It’s a week now since hurricane winds fueled
6res that devastated my island home. I am one
of the lucky ones but we are all aAected. I
meant to pit 6re this pot but I can’t. Simply
can’t bring myself to make 6re now and so it
remains pure white, untouched by Iame and
smoke.
The work is beautiful, colorful, fun glass; bold
yet simple. I love playing with repetitive
patterns, created using sandblasting techniques
on blown glass. My current work explores what
I see and feel around me, whether it’s the
wildlife I’ve encountered on my hikes or just
the pleasure of sitting on the beach.
Brooke Auchincloss
UnBred
Ceramic
12" x 6" x 6"
Maui
Valerie Beck
Kealakekua Bay
Glass
14" x 14" x 3"
Hawaiʻi Island
It’s a week now since hurricane winds fueled
6res that devastated my island home. I am one
of the lucky ones but we are all aAected. I
meant to pit 6re this pot but I can’t. Simply
can’t bring myself to make 6re now and so it
remains pure white, untouched by Iame and
smoke.
The work is beautiful, colorful, fun glass; bold
yet simple. I love playing with repetitive
patterns, created using sandblasting techniques
on blown glass. My current work explores what
I see and feel around me, whether it’s the
wildlife I’ve encountered on my hikes or just
the pleasure of sitting on the beach.
16 17
Derek Bencomo
Gift from the Rain Forest, 17th View
Koa
6.5" x 25" x 11"
Maui
Daniel Bennett
There Are No Frogs on Molokai
Ceramic, keawe ash glaze
12.5"x 9" x 9"
Molokai
A wonderfully high-6gured piece of Hawaiian
koa wood that came from a root, this piece was
going to the land6ll. After carving away
signi6cant areas of rot, I shaped the 6nal
design from what solid wood was left; choosing
a design that had Iowing movement as well as
showing oA the beautiful grain.
As a craftsman, I enjoy the challenge of
creating well-made pots and dinnerware that
serve with grace and functionality. As an artist,
I often draw inspiration from the creatures,
plants and lore of Molokai. One of my favorite
symbols is the kukui leaf. The kukui, or
candlenut tree, was used to build canoes, for
clothing, adornment, and food. Its bark
produced medicine, while oil from the nuts was
burned to dispel darkness. Native fauna and
Iora often manifest as decoration; I construct
small and obscure critters like damselIies,
geckos, ferns, reef 6sh, and turtles. When you
use my high 6red stoneware with keawe ash
glaze and faceting, I hope you feel connected to
the life found on Molokai.
Derek Bencomo
Gift from the Rain Forest, 17th View
Koa
6.5" x 25" x 11"
Maui
Daniel Bennett
There Are No Frogs on Molokai
Ceramic, keawe ash glaze
12.5"x 9" x 9"
Molokai
A wonderfully high-6gured piece of Hawaiian
koa wood that came from a root, this piece was
going to the land6ll. After carving away
signi6cant areas of rot, I shaped the 6nal
design from what solid wood was left; choosing
a design that had Iowing movement as well as
showing oA the beautiful grain.
As a craftsman, I enjoy the challenge of
creating well-made pots and dinnerware that
serve with grace and functionality. As an artist,
I often draw inspiration from the creatures,
plants and lore of Molokai. One of my favorite
symbols is the kukui leaf. The kukui, or
candlenut tree, was used to build canoes, for
clothing, adornment, and food. Its bark
produced medicine, while oil from the nuts was
burned to dispel darkness. Native fauna and
Iora often manifest as decoration; I construct
small and obscure critters like damselIies,
geckos, ferns, reef 6sh, and turtles. When you
use my high 6red stoneware with keawe ash
glaze and faceting, I hope you feel connected to
the life found on Molokai.
18 19
A.Kimberlin Blackburn
The Golden Life — Liquid Sunshine in the Taro Patch
Glass beads, seed pearls, thread, acrylic on wire,
birch
29.5" x 25" x 5"
Kauaʻi
Jake Boggs
Phenotypical Archetypes
Porcelain
18" x 10" x 10"
Hawaiʻi Island
Farm life’s joys; sunny with a touch of rain
feeding/blessing the taro patch.
This piece was made during my recent summer
residency at the Archie Bray Foundation. It is a
continuation of my exploration into the use of
classically inspired ceramic vessels as a
substrate for non-objective abstract imagery.
This piece is inspired by Germanic salt glazed
ware, and serves as my commentary on the
legacy of pictorial vessels.
A.Kimberlin Blackburn
The Golden Life — Liquid Sunshine in the Taro Patch
Glass beads, seed pearls, thread, acrylic on wire,
birch
29.5" x 25" x 5"
Kauaʻi
Jake Boggs
Phenotypical Archetypes
Porcelain
18" x 10" x 10"
Hawaiʻi Island
Farm life’s joys; sunny with a touch of rain
feeding/blessing the taro patch.
This piece was made during my recent summer
residency at the Archie Bray Foundation. It is a
continuation of my exploration into the use of
classically inspired ceramic vessels as a
substrate for non-objective abstract imagery.
This piece is inspired by Germanic salt glazed
ware, and serves as my commentary on the
legacy of pictorial vessels.
20 21
Julianna Bolanos
Dream Matrix
Ceramic
72" x 72" x 6"
Oʻahu
Kamakana Bray
Mamaakualono
Kamani
25" x 7.5" x 7.5"
Kauaʻi
The Garden Island Arts Council
Annual Artist Award
This large ceramic wall hanging was made as
one singular piece, hollow crafted then cut into
10 sections for 6ring. Then 6red multiple times
to achieve the desired glaze 6nish. The
inspiration came from the tricks my eyes played
on me when waking up from a dream while
looking out my window. I saw a white webbed
matrix that looked just like this.
While resting from hunting puaʻa in the
Wailuanuiahoʻāno area, I looked at Mauna
Kapu, the highest point along Kalepa
mountain. It was there that I envisioned this
kiʻi, which represents the deity Mamaakualono,
the Chewing God Lono. It also means moist
and fragrant, and refers to the large cave -
famously known as Fern Grotto. During the
process of carving this kiʻi, I utilized six
essential tools. This creativity is a gift from
Akua. And, as I continue to perpetuate this lost
art of my ancestors, it is not about me, rather I
am only an instrument forward.
Julianna Bolanos
Dream Matrix
Ceramic
72" x 72" x 6"
Oʻahu
Kamakana Bray
Mamaakualono
Kamani
25" x 7.5" x 7.5"
Kauaʻi
The Garden Island Arts Council
Annual Artist Award
This large ceramic wall hanging was made as
one singular piece, hollow crafted then cut into
10 sections for 6ring. Then 6red multiple times
to achieve the desired glaze 6nish. The
inspiration came from the tricks my eyes played
on me when waking up from a dream while
looking out my window. I saw a white webbed
matrix that looked just like this.
While resting from hunting puaʻa in the
Wailuanuiahoʻāno area, I looked at Mauna
Kapu, the highest point along Kalepa
mountain. It was there that I envisioned this
kiʻi, which represents the deity Mamaakualono,
the Chewing God Lono. It also means moist
and fragrant, and refers to the large cave -
famously known as Fern Grotto. During the
process of carving this kiʻi, I utilized six
essential tools. This creativity is a gift from
Akua. And, as I continue to perpetuate this lost
art of my ancestors, it is not about me, rather I
am only an instrument forward.
22 23
V. Lee Cabanilla
Laka and the Fire
Salvaged koa
8" x 19" x 8"
Lānaʻi
The Merit Award in Wood Arts
V. Lee Cabanilla
Makau Manu ‘Iwa - Frigate Bird Fishhook
Koa, Axis deer antler, nylon 6ber
3" x 2.875" x .375"
Lānaʻi
As an artist, I try to capture, interpret, and re-
present beauty as I envision it. My work focuses
largely on Polynesian art and wildlife subjects
representing the elements of human creation
and beauty in nature. I work primarily in a
representational style, with the elements
simpli6ed in some cases, but rarely to the point
of abstraction. I work mostly in wood, shell,
and antler because I 6nd the diAering creative
approaches refreshing. I discovered that I could
utilize both ancient and modern methods to
create my sculpture and jewelry. My sculpture
and works of personal adornment are a journey
into the future with a deep respect and eye on
the past.
V. Lee Cabanilla
Laka and the Fire
Salvaged koa
8" x 19" x 8"
Lānaʻi
The Merit Award in Wood Arts
V. Lee Cabanilla
Makau Manu ‘Iwa - Frigate Bird Fishhook
Koa, Axis deer antler, nylon 6ber
3" x 2.875" x .375"
Lānaʻi
As an artist, I try to capture, interpret, and re-
present beauty as I envision it. My work focuses
largely on Polynesian art and wildlife subjects
representing the elements of human creation
and beauty in nature. I work primarily in a
representational style, with the elements
simpli6ed in some cases, but rarely to the point
of abstraction. I work mostly in wood, shell,
and antler because I 6nd the diAering creative
approaches refreshing. I discovered that I could
utilize both ancient and modern methods to
create my sculpture and jewelry. My sculpture
and works of personal adornment are a journey
into the future with a deep respect and eye on
the past.
24 25
Devin Campbell
Captivated Paradise #5
Porcelain, gold luster
3.5" x 12" x 12"
Oʻahu
The George Ellis Award
Theresa Casagram
Tripple Ripple
Sterling silver
3" x 2.25" x .50"
Kauaʻi
For the past two years, I have been producing
high-end porcelain plates with Hawaiian
themes on them - honu, hibiscus, and such - at
my studio in Chinatown. However, I do not see
turtles every day, but I do see people shooting
up, overdosed, smoking meth and crack, and
sometimes dead. I have even been almost
stabbed multiple times. Substance abuse
touches everyone and all races. The series
addresses mental health, disparity of wealth,
and dissonance. How do we 6x this?
Tripple Ripple is an anticlastic hollow form
sterling silver bracelet. The two dominant axes
of curvature are in opposing direction, created
by heat, hammering, stakes and applied
strength. As the metal is forged, it is
compressing, stretching, moving, relenting.
Three identical Iat sheets of silver, nestled
together, embrace her inner core. Each hammer
strike urges the metal to keep moving, adapting
to the tiny blows in lessons of time towards the
desired form, layer upon layer. Now sleek and
Iuid, her resilient structure is con6dent; beauty
strengthened by the entire process.
Devin Campbell
Captivated Paradise #5
Porcelain, gold luster
3.5" x 12" x 12"
Oʻahu
The George Ellis Award
Theresa Casagram
Tripple Ripple
Sterling silver
3" x 2.25" x .50"
Kauaʻi
For the past two years, I have been producing
high-end porcelain plates with Hawaiian
themes on them - honu, hibiscus, and such - at
my studio in Chinatown. However, I do not see
turtles every day, but I do see people shooting
up, overdosed, smoking meth and crack, and
sometimes dead. I have even been almost
stabbed multiple times. Substance abuse
touches everyone and all races. The series
addresses mental health, disparity of wealth,
and dissonance. How do we 6x this?
Tripple Ripple is an anticlastic hollow form
sterling silver bracelet. The two dominant axes
of curvature are in opposing direction, created
by heat, hammering, stakes and applied
strength. As the metal is forged, it is
compressing, stretching, moving, relenting.
Three identical Iat sheets of silver, nestled
together, embrace her inner core. Each hammer
strike urges the metal to keep moving, adapting
to the tiny blows in lessons of time towards the
desired form, layer upon layer. Now sleek and
Iuid, her resilient structure is con6dent; beauty
strengthened by the entire process.
26 27
Bernadette Chan
Circle of Love
Ceramic
6" x 6" x 6"
Oʻahu
Page Chang
He Pūko‘a Kani ‘Āina (The Coral Reef that Becomes an Island)
Homegrown wauke 6ber and kapa, homemade native
and natural dyes, cotton and wauke threads
27" x 27" x 14"
Oʻahu
The Ron and Myra Kent Award
for Creative Innovation
I enjoy doing hand-dyed paper collages of hula
dancers, and it seems like a natural progression
to use wax mishima techniques to carve hula
dancers on the pot. These 6gures, with their
graceful movements, exude joy, love, and
togetherness.
He Pūko‘a Kani ʻĀina (The Coral Reef that
Becomes an Island) - This proverb is said of a
person or idea that starts in a small way,
becomes 6rmly rooted and grows into
something signi6cant. This particular coral
reef, made of 6ber and dye from my own ʻāina
and kapa made with my own hands with tools
that I carved, represents my eAorts to grow
Native Hawaiian practices like kapa making, to
grow the understanding of sustainability and
Aloha ‘Āina, and to grow the belief that we can
save the reefs, the oceans, and the planet by
embracing these practices.
Bernadette Chan
Circle of Love
Ceramic
6" x 6" x 6"
Oʻahu
Page Chang
He Pūko‘a Kani ‘Āina (The Coral Reef that Becomes an Island)
Homegrown wauke 6ber and kapa, homemade native
and natural dyes, cotton and wauke threads
27" x 27" x 14"
Oʻahu
The Ron and Myra Kent Award
for Creative Innovation
I enjoy doing hand-dyed paper collages of hula
dancers, and it seems like a natural progression
to use wax mishima techniques to carve hula
dancers on the pot. These 6gures, with their
graceful movements, exude joy, love, and
togetherness.
He Pūko‘a Kani ʻĀina (The Coral Reef that
Becomes an Island) - This proverb is said of a
person or idea that starts in a small way,
becomes 6rmly rooted and grows into
something signi6cant. This particular coral
reef, made of 6ber and dye from my own ʻāina
and kapa made with my own hands with tools
that I carved, represents my eAorts to grow
Native Hawaiian practices like kapa making, to
grow the understanding of sustainability and
Aloha ‘Āina, and to grow the belief that we can
save the reefs, the oceans, and the planet by
embracing these practices.
28 29
Page Chang
Hana Hou, Hawaiian Quilt
Drypoint prints on kapa, natural dyes, cotton
thread
27" x 31"
Oʻahu
Ghislaine Chock
Noren
Handwoven linen
31" x 40"
Oʻahu
Hana Hou, in ‘Ōlelo Hawaiian, means to
repeat. This work is truly a Hawaiian quilt,
made from my own wauke trees, pounded into
kapa in my backyard, and colored with dyes
grown or collected by me. It tells us the story of
Hawaiʻi and the repeating cycles of life and
occupation. From the vibrations of the oceans
and the volcanoes, to the migrations and
immigrations, to the corruption and
destruction, to a world again seen through the
frame of the Kahili and the eyes of Kanaka
Maoli.
This Japanese noren, or soft door, woven with its
large tabby-look and made of sturdy linen,
generates a welcome feeling.
Page Chang
Hana Hou, Hawaiian Quilt
Drypoint prints on kapa, natural dyes, cotton
thread
27" x 31"
Oʻahu
Ghislaine Chock
Noren
Handwoven linen
31" x 40"
Oʻahu
Hana Hou, in ‘Ōlelo Hawaiian, means to
repeat. This work is truly a Hawaiian quilt,
made from my own wauke trees, pounded into
kapa in my backyard, and colored with dyes
grown or collected by me. It tells us the story of
Hawaiʻi and the repeating cycles of life and
occupation. From the vibrations of the oceans
and the volcanoes, to the migrations and
immigrations, to the corruption and
destruction, to a world again seen through the
frame of the Kahili and the eyes of Kanaka
Maoli.
This Japanese noren, or soft door, woven with its
large tabby-look and made of sturdy linen,
generates a welcome feeling.
30 31
Christopher Edwards
#158. Wana Lei
Ceramic, wire
34" x 23" x 3"
Oʻahu
The John Young Award
Jason Elder
Mahi Mahi
Wood
4.5'' x 20'' x 77''
Molokai
This wall-mounted ceramic sculpture is
inspired by the forms of wana (Hawaiian sea
urchins) and Iower leis. My process involves
blending diAerent visual sources to create
objects with their own logic of form.
This Mahi Mahi cutting board I shaped into the
outline of my island, Molokai. The central bowl
cradles the 6sh while being butchered so as not
to slip oA and fall onto the ground. The bowl
inside of the tail 6n is for the “Heaven”, the
meat I scrape oA the backbones with a spoon
and eat with soy and wasabi as I 6nish cleaning
the 6sh. The last bowl with the puka is meant
to have a rubbish can underneath to catch the
entrails. The wood is brazed with a propane
torch and liberally rubbed with mineral oil.
Christopher Edwards
#158. Wana Lei
Ceramic, wire
34" x 23" x 3"
Oʻahu
The John Young Award
Jason Elder
Mahi Mahi
Wood
4.5'' x 20'' x 77''
Molokai
This wall-mounted ceramic sculpture is
inspired by the forms of wana (Hawaiian sea
urchins) and Iower leis. My process involves
blending diAerent visual sources to create
objects with their own logic of form.
This Mahi Mahi cutting board I shaped into the
outline of my island, Molokai. The central bowl
cradles the 6sh while being butchered so as not
to slip oA and fall onto the ground. The bowl
inside of the tail 6n is for the “Heaven”, the
meat I scrape oA the backbones with a spoon
and eat with soy and wasabi as I 6nish cleaning
the 6sh. The last bowl with the puka is meant
to have a rubbish can underneath to catch the
entrails. The wood is brazed with a propane
torch and liberally rubbed with mineral oil.
32 33
Bob Flint
Pahoehoe Series #1
Ceramic
16" x 7" x 7"
Maui
Sachiko Furuya
Aoido-Gata Choseki Hakuyu Chawan (Aoido-Shape
Feldspar Tea Bowl)
Ceramic
3.5" x 4.5" x 4.5"
Oʻahu
This piece is thrown and hand formed; the
plasticity of clay oAers an endless source of
creativity.
This traditional tea bowl imitates the shape of a
blue well (Aoido Gata Chawan) with white
porcelain clay and is covered with feldspar
glaze.
Bob Flint
Pahoehoe Series #1
Ceramic
16" x 7" x 7"
Maui
Sachiko Furuya
Aoido-Gata Choseki Hakuyu Chawan (Aoido-Shape
Feldspar Tea Bowl)
Ceramic
3.5" x 4.5" x 4.5"
Oʻahu
This piece is thrown and hand formed; the
plasticity of clay oAers an endless source of
creativity.
This traditional tea bowl imitates the shape of a
blue well (Aoido Gata Chawan) with white
porcelain clay and is covered with feldspar
glaze.
34 35
Sachiko Furuya
Yohen Aoyu Idogata Chawan
Ceramic, Japanese urushi, gold leaf
4.0" x 5.5" x 4.9"
Oʻahu
Glorianne Garza
Imprinted
Fiber
58" x 21"
Hawaiʻi Island
The shape of this tea bowl is the result of a kiln
transformation. It has been decorated with
Japanese lacquer and gold leaf with a blue
glaze.
Imprinted. . . to retain something in one’s
memory. To create a mark. To mark a surface.
Creating texture and Iow guide my work. This
was a personal journey that called on my
instincts and experiences in working with
textiles over the last almost 40 years. My
imprints here were made using rust, shibori,
stitch, beads, dye, paint, and textures. But it’s
me that has been imprinted by what has been
my sacred practice. So grateful for the work and
to share. With gratitude . . .
Sachiko Furuya
Yohen Aoyu Idogata Chawan
Ceramic, Japanese urushi, gold leaf
4.0" x 5.5" x 4.9"
Oʻahu
Glorianne Garza
Imprinted
Fiber
58" x 21"
Hawaiʻi Island
The shape of this tea bowl is the result of a kiln
transformation. It has been decorated with
Japanese lacquer and gold leaf with a blue
glaze.
Imprinted. . . to retain something in one’s
memory. To create a mark. To mark a surface.
Creating texture and Iow guide my work. This
was a personal journey that called on my
instincts and experiences in working with
textiles over the last almost 40 years. My
imprints here were made using rust, shibori,
stitch, beads, dye, paint, and textures. But it’s
me that has been imprinted by what has been
my sacred practice. So grateful for the work and
to share. With gratitude . . .
36 37
Patricia Golebieski
The Purple Heart of Enlightenment
Molokai opihi, amethyst hearts, freshwater
pearls, Czech gemstones
10" x 7" x 1"
Molokai
Dylan Gomez
CamouIage
Wood
18" x 11" x 10"
Oʻahu
Entirely handsewn, The Purple Heart of
Enlightenment serves as a reminder that every
heart has a story of merit and loss. Seeking
spiritual comfort through the slow pace of
meditative sewing, it is my hope to inspire
others to 6nd comfort in human kindness and
forgiveness.
The marine ecosystem surrounding the
Hawaiian Islands inIuences and inspires me.
Using found and reclaimed wood, I transformed
a dry rigid material into a wet and Iuid form
depicting an octopus on a rock. I sculpted a
single piece of wood to give the impression of
an octopus blending into its environment using
the natural wood grain. The work showcases the
Iexibility of wood as a material; the soft and
Iuid octopus rests upon a sharp, unforgiving
texture that resembles volcanic rock.
Patricia Golebieski
The Purple Heart of Enlightenment
Molokai opihi, amethyst hearts, freshwater
pearls, Czech gemstones
10" x 7" x 1"
Molokai
Dylan Gomez
CamouIage
Wood
18" x 11" x 10"
Oʻahu
Entirely handsewn, The Purple Heart of
Enlightenment serves as a reminder that every
heart has a story of merit and loss. Seeking
spiritual comfort through the slow pace of
meditative sewing, it is my hope to inspire
others to 6nd comfort in human kindness and
forgiveness.
The marine ecosystem surrounding the
Hawaiian Islands inIuences and inspires me.
Using found and reclaimed wood, I transformed
a dry rigid material into a wet and Iuid form
depicting an octopus on a rock. I sculpted a
single piece of wood to give the impression of
an octopus blending into its environment using
the natural wood grain. The work showcases the
Iexibility of wood as a material; the soft and
Iuid octopus rests upon a sharp, unforgiving
texture that resembles volcanic rock.
38 39
Lynn J Martin Graton
Murasaki no Yume #2 – Layers of Red & Pink
Dupion silk, 6ber reactive dyes, knotted
cordage, plexiglass
73" x 15.5"
Hawaiʻi Island
Lynn J Martin Graton
Murasaki no Yume #1 – Layers of Green
Dupion silk, 6ber reactive dyes, knotted
cordage, plexiglass
65" x 15.5"
Hawaiʻi Island
This series of silk scrolls is inspired by the
kimono worn by 11th century Heian era court
women and the knotted cords they sometimes
adorned their hair and fans with. The twelve
layers of kimono - called jūnihitoe - created the
sensation of Ioating through silken clouds of
color. Murasaki Shikibu was a lady-in-waiting
in the Japanese Imperial court and wrote one of
the world's 6rst novels - The Tale of Genji. Lady
Murasaki would have undoubtedly dreamt of a
color palette for her kimono that would best
suit her poetic nature. Enjoy them together or
individually as scrolls.
Lynn J Martin Graton
Murasaki no Yume #3 – Layers of Purple & Blue
Dupion silk, 6ber reactive dyes, knotted
cordage, plexiglass
65" x 15.5"
Hawaiʻi Island
Lynn J Martin Graton
Murasaki no Yume #2 – Layers of Red & Pink
Dupion silk, 6ber reactive dyes, knotted
cordage, plexiglass
73" x 15.5"
Hawaiʻi Island
Lynn J Martin Graton
Murasaki no Yume #1 – Layers of Green
Dupion silk, 6ber reactive dyes, knotted
cordage, plexiglass
65" x 15.5"
Hawaiʻi Island
This series of silk scrolls is inspired by the
kimono worn by 11th century Heian era court
women and the knotted cords they sometimes
adorned their hair and fans with. The twelve
layers of kimono - called jūnihitoe - created the
sensation of Ioating through silken clouds of
color. Murasaki Shikibu was a lady-in-waiting
in the Japanese Imperial court and wrote one of
the world's 6rst novels - The Tale of Genji. Lady
Murasaki would have undoubtedly dreamt of a
color palette for her kimono that would best
suit her poetic nature. Enjoy them together or
individually as scrolls.
Lynn J Martin Graton
Murasaki no Yume #3 – Layers of Purple & Blue
Dupion silk, 6ber reactive dyes, knotted
cordage, plexiglass
65" x 15.5"
Hawaiʻi Island
40 41
Daven Hee
Textured Closed Form
Ceramic
14" x 9" x 9"
Oʻahu
The Merit Award in Ceramic Arts
Gary Henrickson
Inside of the Moon
Ceramic
3.5" x 9.5" x 9.5"
Oʻahu
This piece of wheel-thrown stoneware was 6red
to cone 10 in reduction with a copper-rich
glaze, then re-6red to cone 5 with a texture
glaze.
This bowl has a stonelike exterior in color and
texture and a glossy, brightly colored interior
inspired by geodes or, in this case, how I
imagine the outside and inside of the moon.
Daven Hee
Textured Closed Form
Ceramic
14" x 9" x 9"
Oʻahu
The Merit Award in Ceramic Arts
Gary Henrickson
Inside of the Moon
Ceramic
3.5" x 9.5" x 9.5"
Oʻahu
This piece of wheel-thrown stoneware was 6red
to cone 10 in reduction with a copper-rich
glaze, then re-6red to cone 5 with a texture
glaze.
This bowl has a stonelike exterior in color and
texture and a glossy, brightly colored interior
inspired by geodes or, in this case, how I
imagine the outside and inside of the moon.
42 43
Vilsoni Hereniko
Sina
Fiber
14" x 10" x 7"
Oʻahu
Barclay Hill
Manta Moon Dance
Sterling silver
1.5" x 1.5" x 1.5"
Maui
Sina is the name of a beautiful woman in
Polynesian mythology, hence the name for this
basket made from coconut fronds and sennit
made from coconut husk. This original basket is
inspired by my short 6lm Sina ma Tinirau.
This cocktail ring is an exercise in playfulness
and meant to be a conversation piece. If
anybody has had the wonderful opportunity to
witness manta rays swimming under harbour
lights or the moonlight . . . it is a graceful
dance and a sight to be seen. Aloha.
Vilsoni Hereniko
Sina
Fiber
14" x 10" x 7"
Oʻahu
Barclay Hill
Manta Moon Dance
Sterling silver
1.5" x 1.5" x 1.5"
Maui
Sina is the name of a beautiful woman in
Polynesian mythology, hence the name for this
basket made from coconut fronds and sennit
made from coconut husk. This original basket is
inspired by my short 6lm Sina ma Tinirau.
This cocktail ring is an exercise in playfulness
and meant to be a conversation piece. If
anybody has had the wonderful opportunity to
witness manta rays swimming under harbour
lights or the moonlight . . . it is a graceful
dance and a sight to be seen. Aloha.
44 45
Shannon Hiramoto
Folly 6
Machine stitched paper, varnish
24" x 18" x 2"
Kauaʻi
Rachel Lahela Lyra Hospodar
Song of Myself
Mixed media textile collage with watercolor
30" x 20" x 1"
Kauaʻi
While developing the body of work called Folly,
I explored the satisfaction and ease of
compulsive pattern creation – juxtaposed with
the idea that outdated patterns of behavior and
emotion can cause pain. I’ve recognized how, on
the one hand, people build labyrinthian
fortresses of methods to cope and perform in
the world, while on the other hand, these old
modes can impede desired change and growth.
This series issues a warning against falling
captive to one’s patterns or, at the very least, a
wish for myself and others to break free and
start anew. Folly: lack of good sense;
foolishness; a costly ornamental building with
no practical purpose; a theatrical revue with
glamorous female performers.
Song of Myself is named after a Walt Whitman
poem that speaks of humble and wretched and
sacred and holy parts of all of us, and
encompasses the grand sweep of humanity.
Representations of the scenic beauty of Hawaiʻi
are common but, like a picture postcard, they
show only one aspect of life here. This piece
places that view into a broader tapestry of
harmony, texture, and the creation of everyday
beauty through the labor of handwork and the
reclamation of what is lost. The fabrics quilted
here are sourced from our waste, salvaged and
rendered beautiful again.
Shannon Hiramoto
Folly 6
Machine stitched paper, varnish
24" x 18" x 2"
Kauaʻi
Rachel Lahela Lyra Hospodar
Song of Myself
Mixed media textile collage with watercolor
30" x 20" x 1"
Kauaʻi
While developing the body of work called Folly,
I explored the satisfaction and ease of
compulsive pattern creation – juxtaposed with
the idea that outdated patterns of behavior and
emotion can cause pain. I’ve recognized how, on
the one hand, people build labyrinthian
fortresses of methods to cope and perform in
the world, while on the other hand, these old
modes can impede desired change and growth.
This series issues a warning against falling
captive to one’s patterns or, at the very least, a
wish for myself and others to break free and
start anew. Folly: lack of good sense;
foolishness; a costly ornamental building with
no practical purpose; a theatrical revue with
glamorous female performers.
Song of Myself is named after a Walt Whitman
poem that speaks of humble and wretched and
sacred and holy parts of all of us, and
encompasses the grand sweep of humanity.
Representations of the scenic beauty of Hawaiʻi
are common but, like a picture postcard, they
show only one aspect of life here. This piece
places that view into a broader tapestry of
harmony, texture, and the creation of everyday
beauty through the labor of handwork and the
reclamation of what is lost. The fabrics quilted
here are sourced from our waste, salvaged and
rendered beautiful again.
46 47
Stephen Hynson
Koa Chest - Hawaiian Quilt Series: Lokelani
Hawaiian koa, amboyna, wenge
28" x 47" x 22"
Maui
The Elizabeth Rice Grossman
Award of Excellence
Kate & Will Jacobson
Jewels of the Sea
Ceramic
22" x 9" x 6"
Hawaiʻi Island
The Virginia McGargahan
Award of Excellence in Raku
A long-time quilter, my mother introduced me
to traditional Hawaiian motifs. Beautiful in
their simplicity and cultural nuance, I decided I
could also incorporate these designs as
marquetry in my furniture. This curly koa chest
is part of a series that has included kalo, ulu
and hale kahiki as individual design elements.
In working with various veneers over the years
it has occurred to me that wood is just at one
end of the 6ber art spectrum. Wood veneer, like
fabric, comes in a plethora of patterns, 6gures
and colors, there to be made into something
meaningful.
Diatoms are microscopic organisms that
comprise nearly half of the organic matter in
the world's oceans. Although invisible to the
naked eye, diatoms surround us, nurture us and
unite us. This piece features bioluminescence;
appearing transformed in light or dark
environments. We use this juxtaposition to
express the dichotomy of life on Earth. The
intersection between science and art informs us
as we explore and embrace the complexity of
our times. Both are essential for the future of
humanity.
Stephen Hynson
Koa Chest - Hawaiian Quilt Series: Lokelani
Hawaiian koa, amboyna, wenge
28" x 47" x 22"
Maui
The Elizabeth Rice Grossman
Award of Excellence
Kate & Will Jacobson
Jewels of the Sea
Ceramic
22" x 9" x 6"
Hawaiʻi Island
The Virginia McGargahan
Award of Excellence in Raku
A long-time quilter, my mother introduced me
to traditional Hawaiian motifs. Beautiful in
their simplicity and cultural nuance, I decided I
could also incorporate these designs as
marquetry in my furniture. This curly koa chest
is part of a series that has included kalo, ulu
and hale kahiki as individual design elements.
In working with various veneers over the years
it has occurred to me that wood is just at one
end of the 6ber art spectrum. Wood veneer, like
fabric, comes in a plethora of patterns, 6gures
and colors, there to be made into something
meaningful.
Diatoms are microscopic organisms that
comprise nearly half of the organic matter in
the world's oceans. Although invisible to the
naked eye, diatoms surround us, nurture us and
unite us. This piece features bioluminescence;
appearing transformed in light or dark
environments. We use this juxtaposition to
express the dichotomy of life on Earth. The
intersection between science and art informs us
as we explore and embrace the complexity of
our times. Both are essential for the future of
humanity.
48 49
Matthew Jakielski
Places for Thoughts
Ceramic, glass
10" x 12" x 12"
Hawaiʻi Island
Joyce Je=ers
Flight Interrupted
Coconut cordage, feathers, waxed linen, cotton
thread
40" x 40" x 2"
Maui
This collection of Places for Thoughts provides the
viewer a chance to collect their own thoughts
through interacting with one of these miniature
vessels. Individually, they serve to act as an
external hard drive for your brain. They are
great for storing elements of stress and anxiety,
clearing space in the mind for peace and
tranquility.
The idealized image of a tropical paradise with
palm trees has metamorphosed into abstract
work where the roosters and hens that were
brought to these shores along with the coconut
palm are intertwined to tell a new story. I
utilize braiding, knotting, knitting, looping and
sewing to develop a piece to be hung on a wall.
This form holds light and air; it is as much
about the space between as it is about the cord
that binds together. I continue to study the
stories, history and traditional 6ber techniques
of the Paci6c as it informs my explorations,
broadens my understanding and deepens my
appreciation for Hawaiʻi.
Matthew Jakielski
Places for Thoughts
Ceramic, glass
10" x 12" x 12"
Hawaiʻi Island
Joyce Je=ers
Flight Interrupted
Coconut cordage, feathers, waxed linen, cotton
thread
40" x 40" x 2"
Maui
This collection of Places for Thoughts provides the
viewer a chance to collect their own thoughts
through interacting with one of these miniature
vessels. Individually, they serve to act as an
external hard drive for your brain. They are
great for storing elements of stress and anxiety,
clearing space in the mind for peace and
tranquility.
The idealized image of a tropical paradise with
palm trees has metamorphosed into abstract
work where the roosters and hens that were
brought to these shores along with the coconut
palm are intertwined to tell a new story. I
utilize braiding, knotting, knitting, looping and
sewing to develop a piece to be hung on a wall.
This form holds light and air; it is as much
about the space between as it is about the cord
that binds together. I continue to study the
stories, history and traditional 6ber techniques
of the Paci6c as it informs my explorations,
broadens my understanding and deepens my
appreciation for Hawaiʻi.
50 51
Leleo Kinimaka
Alaia
Wood
7' x 17.75" x .75"
Oʻahu
The Sam and Mary Cooke
Memorial Award
Terry Klerlein
Hoʻomau
Pine needles, ra=a, wood-burned lau hala,
seeds
4.5" x 10" x 4.5"
Molokai
Traditional Hawaiian Alaia surfboard. The core
is made of monkeypod while the artwork is
made of maple, kolohala, and curly koa from
Kauaʻi. Included are Hawaiian symbols that tell
a story of traditional Hawaiian culture.
My pieces are a unique combination of
traditional techniques and found elements. I
use dried plant material, seeds, and shells I
have collected locally. There is minimal
expense in materials but a huge investment in
the time and patience required to complete
each project. My goal is to achieve something
beautiful that is pleasing to me and to others.
My hope is to inspire a deep appreciation for
some of the amazing shapes, colors and details
in our environment which may be easily
overlooked.
Leleo Kinimaka
Alaia
Wood
7' x 17.75" x .75"
Oʻahu
The Sam and Mary Cooke
Memorial Award
Terry Klerlein
Hoʻomau
Pine needles, ra=a, wood-burned lau hala,
seeds
4.5" x 10" x 4.5"
Molokai
Traditional Hawaiian Alaia surfboard. The core
is made of monkeypod while the artwork is
made of maple, kolohala, and curly koa from
Kauaʻi. Included are Hawaiian symbols that tell
a story of traditional Hawaiian culture.
My pieces are a unique combination of
traditional techniques and found elements. I
use dried plant material, seeds, and shells I
have collected locally. There is minimal
expense in materials but a huge investment in
the time and patience required to complete
each project. My goal is to achieve something
beautiful that is pleasing to me and to others.
My hope is to inspire a deep appreciation for
some of the amazing shapes, colors and details
in our environment which may be easily
overlooked.
52 53
Trevor Kodama
Pale Raku Buddha
Ceramic, raku glaze
10.5" x 9" x 6.25"
Oʻahu
Amos Kotomori
Forbidden Fruit
Batik
65" x 50" x 2"
Oʻahu
Inspired by Buddhism and its wisdoms. I
wondered to myself, why are Buddha statues so
pristine and well maintained? To me, the more
accurate aesthetic representation of Buddhist
teachings should appear as the opposite. I
discovered that the use, or perhaps misuse, of
slip casting methods worked well in creating my
desired aesthetic. A quick summary of my
building process and perhaps some parallels
with Buddhism: build just enough stability, let
go of concerns for the ideals of perfection, let
what will break away break away, let the
unde6ned emptiness become just as important
as the de6ned form.
I used palm sugar resin, which does not
crackle, for this four-color batik process.
Trevor Kodama
Pale Raku Buddha
Ceramic, raku glaze
10.5" x 9" x 6.25"
Oʻahu
Amos Kotomori
Forbidden Fruit
Batik
65" x 50" x 2"
Oʻahu
Inspired by Buddhism and its wisdoms. I
wondered to myself, why are Buddha statues so
pristine and well maintained? To me, the more
accurate aesthetic representation of Buddhist
teachings should appear as the opposite. I
discovered that the use, or perhaps misuse, of
slip casting methods worked well in creating my
desired aesthetic. A quick summary of my
building process and perhaps some parallels
with Buddhism: build just enough stability, let
go of concerns for the ideals of perfection, let
what will break away break away, let the
unde6ned emptiness become just as important
as the de6ned form.
I used palm sugar resin, which does not
crackle, for this four-color batik process.
54 55
Christopher Langen
Papal Portal
Sheet glass, mirror, cast glass
14" x 14" x 14"
Oʻahu
Mary Ann Leigh
Ribbon Vase
Ceramic
9" x 9" x 9"
Maui
In this piece I’m merging sheet glass and cast
glass components with a mirror. The reIection
creates the illusion of depth. I would like the
viewer to interact with the piece and stare into
the abyss. Ephesians 6:12 KJV “For we wrestle
not against Iesh and blood, but against
principalities, against powers, against the rulers
of the darkness of this world, against spiritual
wickedness in high places.”
My Ribbon Vase concept came into my brain like
a bolt of lightning. While taking a few days oA
after 6nishing a huge project, I found a leftover
slab of clay in perfect condition to be used and
would have taken an hour to recycle. Yanked
the plastic oA and said, “What do you want to
be when you grow up?” KerIuie! There it was.
I knew everything about it except how to make
it hang together. Plowed right in, and here we
are!
Christopher Langen
Papal Portal
Sheet glass, mirror, cast glass
14" x 14" x 14"
Oʻahu
Mary Ann Leigh
Ribbon Vase
Ceramic
9" x 9" x 9"
Maui
In this piece I’m merging sheet glass and cast
glass components with a mirror. The reIection
creates the illusion of depth. I would like the
viewer to interact with the piece and stare into
the abyss. Ephesians 6:12 KJV “For we wrestle
not against Iesh and blood, but against
principalities, against powers, against the rulers
of the darkness of this world, against spiritual
wickedness in high places.”
My Ribbon Vase concept came into my brain like
a bolt of lightning. While taking a few days oA
after 6nishing a huge project, I found a leftover
slab of clay in perfect condition to be used and
would have taken an hour to recycle. Yanked
the plastic oA and said, “What do you want to
be when you grow up?” KerIuie! There it was.
I knew everything about it except how to make
it hang together. Plowed right in, and here we
are!
56 57
Forest Leonard
HD
Ceramic
13" x 17" x 5"
Oʻahu
Jason Liu
Post Stroke Makau Aftermath
Koa
29" x 18.5" x 4"
Molokai
The Cedar Street Galleries Award
The HD styrocasting utilizes the existing shapes
within a printer’s styrofoam packaging to
reference the common advertisement seen
within the tech world. While the HD
advertisement is ever-present as an ad, it is
rarely applied to such a permanent material as
clay. This casting immortalizes this acronym so
dominant in the marketing we see surrounding
tech.
I was born and raised on Oʻahu, then moved to
Molokaʻi in 1994. In 2019 I had two strokes;
creating this art is my own therapy and has
been my path back to life. Now I see that the
strokes helped me start my life again. My vision
for entering this competition is to reach more
people with my art and to inspire others to
expose their own art and talents.
Forest Leonard
HD
Ceramic
13" x 17" x 5"
Oʻahu
Jason Liu
Post Stroke Makau Aftermath
Koa
29" x 18.5" x 4"
Molokai
The Cedar Street Galleries Award
The HD styrocasting utilizes the existing shapes
within a printer’s styrofoam packaging to
reference the common advertisement seen
within the tech world. While the HD
advertisement is ever-present as an ad, it is
rarely applied to such a permanent material as
clay. This casting immortalizes this acronym so
dominant in the marketing we see surrounding
tech.
I was born and raised on Oʻahu, then moved to
Molokaʻi in 1994. In 2019 I had two strokes;
creating this art is my own therapy and has
been my path back to life. Now I see that the
strokes helped me start my life again. My vision
for entering this competition is to reach more
people with my art and to inspire others to
expose their own art and talents.
58 59
Constance Liu
Dolphin Carved Double-Wall Bowl
Porcelain
3.5" x 6" x 6"
Oʻahu
Lynn Weiler Liverton
Of
Polychromed ceramic, volcanic sand, wood base
22.5" x 8.5" x 9"
Oʻahu
This double-wall bowl features a dolphin
carving in the outer layer. I drew inspiration
from the beautiful nature and wildlife in
Hawaiʻi.
I have been exploring the sense of place and
with what we identify ourselves.
Constance Liu
Dolphin Carved Double-Wall Bowl
Porcelain
3.5" x 6" x 6"
Oʻahu
Lynn Weiler Liverton
Of
Polychromed ceramic, volcanic sand, wood base
22.5" x 8.5" x 9"
Oʻahu
This double-wall bowl features a dolphin
carving in the outer layer. I drew inspiration
from the beautiful nature and wildlife in
Hawaiʻi.
I have been exploring the sense of place and
with what we identify ourselves.
60 61
Karen Lucas
A Panel of Experts
Porcelain, stone
6" x 12" x 3"
Oʻahu
Emily Ma
Inter-Dimensional Glimpse
Ceramic
6" x 6" x 8.5"
Oʻahu
This little panel of blockheads is mounted
on a French cleat so it can readily be hung
on a wall.
Porcelain calabash; the Chinese mythology
behind this piece symbolizes the unity of
heaven and earth. Between two metallic alloys
rest three golden lines and a ripple of the Milky
Way. Gaze into the past, present, and future.
Karen Lucas
A Panel of Experts
Porcelain, stone
6" x 12" x 3"
Oʻahu
Emily Ma
Inter-Dimensional Glimpse
Ceramic
6" x 6" x 8.5"
Oʻahu
This little panel of blockheads is mounted
on a French cleat so it can readily be hung
on a wall.
Porcelain calabash; the Chinese mythology
behind this piece symbolizes the unity of
heaven and earth. Between two metallic alloys
rest three golden lines and a ripple of the Milky
Way. Gaze into the past, present, and future.
62 63
Christina Magar
Luminous Hope for Lahaina
Ceramic
2.5" x 9" x 9"
Hawaiʻi Island
Kainoa Makua
Pōhaku Palaoa
Hawaiian basalt, koa
11" x 16" x 8"
Hawaiʻi Island
After the Fire Storm in Lahaina, I could feel
the acre large Banyan tree a triage for the souls
of the passed and living. The tree: a symbol of
hope and life; a phoenix rising from the ashes,
grieving, healing, renewing – a community with
strong roots, soon shimmering the light of new
life. I took a screenshot of Senator Schatz’s
video of the Banyan, made a stencil and applied
it on the lower part of the bowl. Then I used
new growth from a banyan tree on the Big
Island to bring hope and life to the burnt.
Carved from Hawaiian basalt with a koa wood
base, this work was inspired by the lei niho
palaoa, originally carved in ancient times of
whale tooth, and worn as adornment around
the necks of the Aliʻi (chiefs) as a sign of
royalty. It is also a symbol of Kanaloa, the
Hawaiian god of the sea.
Christina Magar
Luminous Hope for Lahaina
Ceramic
2.5" x 9" x 9"
Hawaiʻi Island
Kainoa Makua
Pōhaku Palaoa
Hawaiian basalt, koa
11" x 16" x 8"
Hawaiʻi Island
After the Fire Storm in Lahaina, I could feel
the acre large Banyan tree a triage for the souls
of the passed and living. The tree: a symbol of
hope and life; a phoenix rising from the ashes,
grieving, healing, renewing – a community with
strong roots, soon shimmering the light of new
life. I took a screenshot of Senator Schatz’s
video of the Banyan, made a stencil and applied
it on the lower part of the bowl. Then I used
new growth from a banyan tree on the Big
Island to bring hope and life to the burnt.
Carved from Hawaiian basalt with a koa wood
base, this work was inspired by the lei niho
palaoa, originally carved in ancient times of
whale tooth, and worn as adornment around
the necks of the Aliʻi (chiefs) as a sign of
royalty. It is also a symbol of Kanaloa, the
Hawaiian god of the sea.
64 65
Rd Manzano
Mahiole
Bond paper, crepe paper
16" x 17" x 7"
Hawaiʻi Island
Kim Markham
Black Copper Bottle
Raku
12" x 5" x 5"
Molokai
This Hawaiian mahiole, or feathered helmet,
was created with bond paper using cartapesta, or
the piñata technique, and decorated with tissue
paper in the colors of the Hawaiian royalty. An
authentic mahiole frame is decorated with 6ne
featherwork, requiring tens of thousands of
feathers. Birds were exploited by the Hawaiians
for their feathers, but not killed. They were
caught by bird catchers, a few feathers
harvested, then released. ʻOki mahiole is also a
haircut where a strip of hair is left on the head,
as the Hawaiian god Kū-ka-ili-moku is often
represented.
I 6red this piece at Hawaiʻi Craftsmen’s Raku
Hoʻolauleʻa 2023, and at 6rst I didn’t like it. I
expected the black copper glaze to be as shiny
and dramatic as my other raku pots. But this
humble one has grown on me, sitting quietly on
a window shelf, glowing softly in the late
afternoon sun. On one side I made a vertical
line of impressions with the square end of a
chopstick, and the other side bears the memory
of my favorite opihi shell.
Rd Manzano
Mahiole
Bond paper, crepe paper
16" x 17" x 7"
Hawaiʻi Island
Kim Markham
Black Copper Bottle
Raku
12" x 5" x 5"
Molokai
This Hawaiian mahiole, or feathered helmet,
was created with bond paper using cartapesta, or
the piñata technique, and decorated with tissue
paper in the colors of the Hawaiian royalty. An
authentic mahiole frame is decorated with 6ne
featherwork, requiring tens of thousands of
feathers. Birds were exploited by the Hawaiians
for their feathers, but not killed. They were
caught by bird catchers, a few feathers
harvested, then released. ʻOki mahiole is also a
haircut where a strip of hair is left on the head,
as the Hawaiian god Kū-ka-ili-moku is often
represented.
I 6red this piece at Hawaiʻi Craftsmen’s Raku
Hoʻolauleʻa 2023, and at 6rst I didn’t like it. I
expected the black copper glaze to be as shiny
and dramatic as my other raku pots. But this
humble one has grown on me, sitting quietly on
a window shelf, glowing softly in the late
afternoon sun. On one side I made a vertical
line of impressions with the square end of a
chopstick, and the other side bears the memory
of my favorite opihi shell.
66 67
Lucia Maya
Deep Sea Echoes
Ceramic
4" x 10" x 9"
Maui
Pamela McCleave
Opuhala #3
Fine silver, glass enamels, glass
1.25" x 2" x 1.50"
Oʻahu
The sensual, deeply feminine curves of this
bowl combine with the nine oceanic layers of
glaze to bring us deep into the sea . . . The rich
layers of colors of the ocean of Maui and the
sky above Haleakalā inspire this piece, oAering
us a glimpse into the unknown depths.
Part of the ongoing Coral Series, exploring the
fragile nature of our reefs and named after the
goddess of coral, Opuhala. Fabricated from 6ne
silver, and using the plique à jour enamel
technique. Mounted on a cast glass base.
Lucia Maya
Deep Sea Echoes
Ceramic
4" x 10" x 9"
Maui
Pamela McCleave
Opuhala #3
Fine silver, glass enamels, glass
1.25" x 2" x 1.50"
Oʻahu
The sensual, deeply feminine curves of this
bowl combine with the nine oceanic layers of
glaze to bring us deep into the sea . . . The rich
layers of colors of the ocean of Maui and the
sky above Haleakalā inspire this piece, oAering
us a glimpse into the unknown depths.
Part of the ongoing Coral Series, exploring the
fragile nature of our reefs and named after the
goddess of coral, Opuhala. Fabricated from 6ne
silver, and using the plique à jour enamel
technique. Mounted on a cast glass base.
68 69
Sheri Levin McNerthney
I Smell Smoke
Handwoven cotton
72" x 30"
Maui
The Thurston Twigg-Smith
Best in Show Award
Deyana Mielke
The Matriarch
High 6re porcelain, transparent wax
15" x 10.5" x 6"
Kauaʻi
The wind had been howling all night. I woke
up at 1 a.m. on August 8, 2023 in my Olinda,
Maui home and said, “I smell smoke.” The
orange glow ate up the dark sky as the wind
drove the 6re away from my house, on to Kula
and points beyond. I was lucky. So many others
were not.
The Matriarch belongs to the Modern Archetype
Series — exploring identity of self and/or society.
These are not classic archetype concepts: Hero,
Victim, Lover, Fool. Instead, power, essence,
and transformation are the exploration. The
subject is protective, devouring, nurturing, cold,
wielding, light, dark, with covenants for reasons
to control situations. Her head is positioned
away, almost removed from the rest of the form.
Construction is handbuilt high 6re porcelain, a
closed form, 6red to cone 10 once. Honest with
visible imperfections, like us, stripped of our
worldly goods as we came into this land —
naked and exposed.
Sheri Levin McNerthney
I Smell Smoke
Handwoven cotton
72" x 30"
Maui
The Thurston Twigg-Smith
Best in Show Award
Deyana Mielke
The Matriarch
High 6re porcelain, transparent wax
15" x 10.5" x 6"
Kauaʻi
The wind had been howling all night. I woke
up at 1 a.m. on August 8, 2023 in my Olinda,
Maui home and said, “I smell smoke.” The
orange glow ate up the dark sky as the wind
drove the 6re away from my house, on to Kula
and points beyond. I was lucky. So many others
were not.
The Matriarch belongs to the Modern Archetype
Series — exploring identity of self and/or society.
These are not classic archetype concepts: Hero,
Victim, Lover, Fool. Instead, power, essence,
and transformation are the exploration. The
subject is protective, devouring, nurturing, cold,
wielding, light, dark, with covenants for reasons
to control situations. Her head is positioned
away, almost removed from the rest of the form.
Construction is handbuilt high 6re porcelain, a
closed form, 6red to cone 10 once. Honest with
visible imperfections, like us, stripped of our
worldly goods as we came into this land —
naked and exposed.
70 71
Daniel Moe
Insight
Glass, steel
25" x 8" x 6"
Hawaiʻi Island
The Merit Award in Glass Arts
Susan Mori
Oculus Imagined
Handwoven linen and wool
64" x 37" x 1"
Hawaiʻi Island
The Hawaiʻi Handweavers Hui Award
Insight, rendered in blown, sculpted, assembled,
sandcarved glass, and welded steel, is a mask
indicative of that moment when suddenly
everything becomes clear, and everything is
pono or in right time, right place and right
action. When everything said and done in the
past makes perfect sense, and is also pono. It’s
all brought to this perfect present moment, and
the total of everything can be let go of, with
total acceptance of what is.
A distorted, dreamlike vision of the oculus in
the dome of the Pantheon in Rome. Entering
the Pantheon and looking up to the sky is a
cherished life-long memory.
Daniel Moe
Insight
Glass, steel
25" x 8" x 6"
Hawaiʻi Island
The Merit Award in Glass Arts
Susan Mori
Oculus Imagined
Handwoven linen and wool
64" x 37" x 1"
Hawaiʻi Island
The Hawaiʻi Handweavers Hui Award
Insight, rendered in blown, sculpted, assembled,
sandcarved glass, and welded steel, is a mask
indicative of that moment when suddenly
everything becomes clear, and everything is
pono or in right time, right place and right
action. When everything said and done in the
past makes perfect sense, and is also pono. It’s
all brought to this perfect present moment, and
the total of everything can be let go of, with
total acceptance of what is.
A distorted, dreamlike vision of the oculus in
the dome of the Pantheon in Rome. Entering
the Pantheon and looking up to the sky is a
cherished life-long memory.
72 73
Rowland Morita
Container Ship
Stainless steel, brass, koa, milo and exotic
woods, enamel paints
20" x 37" x 14"
Kauaʻi
Sanford Murata
Moss
Ceramic
12" x 6" x 6"
Oʻahu
Having grown up next to a seaport, I have
always been intrigued with diAerent types of
ships. In particular, I am amazed at how
container ships have evolved into such huge
and magni6cent vessels.
This pot, begun as part of an in-class
demonstration, became a study in the
unexpected. After showing how to join two
wheel-thrown pieces together, I discussed
various 6nishing options, including those most
frequently used for vases and jars. Instead,
without much thought, I enclosed the top and
6nished it with a twisted coil, taking less than
a minute. After trimming the outside surface, I
discovered I’d left subtle yet distinct chattering
marks. The glaze was also a surprise, as I
sprayed the piece with amber celadon and
expected a usual medium brown/ochre; this
time it presented as a moss green with subtle
shade variations. Serendipity throughout - the
joy of pottery.
Rowland Morita
Container Ship
Stainless steel, brass, koa, milo and exotic
woods, enamel paints
20" x 37" x 14"
Kauaʻi
Sanford Murata
Moss
Ceramic
12" x 6" x 6"
Oʻahu
Having grown up next to a seaport, I have
always been intrigued with diAerent types of
ships. In particular, I am amazed at how
container ships have evolved into such huge
and magni6cent vessels.
This pot, begun as part of an in-class
demonstration, became a study in the
unexpected. After showing how to join two
wheel-thrown pieces together, I discussed
various 6nishing options, including those most
frequently used for vases and jars. Instead,
without much thought, I enclosed the top and
6nished it with a twisted coil, taking less than
a minute. After trimming the outside surface, I
discovered I’d left subtle yet distinct chattering
marks. The glaze was also a surprise, as I
sprayed the piece with amber celadon and
expected a usual medium brown/ochre; this
time it presented as a moss green with subtle
shade variations. Serendipity throughout - the
joy of pottery.
74 75
Mydock with Isla Harmon
Aloha Reef
Jacaranda, koa, colored pyrography
5.5" x 3.5" x 3.5"
Hawaiʻi Island
The Diane Chen Koch Weser
Award for Collaborative Work
Dane Nakama
Jar for Sugarcane Tears
Ceramic, bashofu (banana 6ber fabric), chord
15" x 9" x 10"
Oʻahu
This hollow form vessel was turned from a
jacaranda tree limb that I trimmed from our
yard. It was inspired by snorkeling in the
beautiful teal blue coral reefs on the Big Island.
It is embellished with Prismacolor pyrography
and is accented with a koa top and base.
This piece was inspired by songs called holehole
bushi sung by Japanese plantation workers in
Hawaiʻi while out in the 6elds – often about a
longing to return home. When I hear the songs
today I share in a similar feeling – a want to
not leave home, which I now identify to be
Hawaiʻi. When I think of Hawaiʻi, my tears
taste sweet – maybe from the sugarcane.
Mydock with Isla Harmon
Aloha Reef
Jacaranda, koa, colored pyrography
5.5" x 3.5" x 3.5"
Hawaiʻi Island
The Diane Chen Koch Weser
Award for Collaborative Work
Dane Nakama
Jar for Sugarcane Tears
Ceramic, bashofu (banana 6ber fabric), chord
15" x 9" x 10"
Oʻahu
This hollow form vessel was turned from a
jacaranda tree limb that I trimmed from our
yard. It was inspired by snorkeling in the
beautiful teal blue coral reefs on the Big Island.
It is embellished with Prismacolor pyrography
and is accented with a koa top and base.
This piece was inspired by songs called holehole
bushi sung by Japanese plantation workers in
Hawaiʻi while out in the 6elds – often about a
longing to return home. When I hear the songs
today I share in a similar feeling – a want to
not leave home, which I now identify to be
Hawaiʻi. When I think of Hawaiʻi, my tears
taste sweet – maybe from the sugarcane.
76 77
Joan Namkoong
Persimmon Flower Shawl
Handwoven silk
84" x 22"
Hawaiʻi Island
Peter Naramore
Taking Flight
Monkeypod, camphor, pheasant
22.5" x 48" x 20"
Maui
Sashiko is the stitching craft of northern Japan,
used to add warmth and strength to clothing,
especially clothing that is recycled. Hitomezashi
refers to sashiko patterns with a running stitch
worked as a grid of straight lines that meet or
cross to make a pattern. Sanju kakinohanazashi, the
triple persimmon Iower stitch, is one of these
gridded patterns that creates the eAect of one
Iower inside another. This hand woven shawl
of 30/2 silk replicates the triple persimmon
Iower stitch, using four shafts on a Ioor loom,
woven in plain weave with supplementary warp
and weft. It was inspired by an article on
Japanese Noren Door Panels by Margaret Zeps
in Handwoven Magazine, March 2015.
This chest is built entirely from wood collected,
milled and dried in upcountry Maui by myself
and friends. The project, intended as my
daughter's wedding present, continued to evolve
during construction. The highly 6gured panels
so strongly suggested a sky-scape that the birds
were a natural choice. The antique handles
were scavenged from a junk shop.
Joan Namkoong
Persimmon Flower Shawl
Handwoven silk
84" x 22"
Hawaiʻi Island
Peter Naramore
Taking Flight
Monkeypod, camphor, pheasant
22.5" x 48" x 20"
Maui
Sashiko is the stitching craft of northern Japan,
used to add warmth and strength to clothing,
especially clothing that is recycled. Hitomezashi
refers to sashiko patterns with a running stitch
worked as a grid of straight lines that meet or
cross to make a pattern. Sanju kakinohanazashi, the
triple persimmon Iower stitch, is one of these
gridded patterns that creates the eAect of one
Iower inside another. This hand woven shawl
of 30/2 silk replicates the triple persimmon
Iower stitch, using four shafts on a Ioor loom,
woven in plain weave with supplementary warp
and weft. It was inspired by an article on
Japanese Noren Door Panels by Margaret Zeps
in Handwoven Magazine, March 2015.
This chest is built entirely from wood collected,
milled and dried in upcountry Maui by myself
and friends. The project, intended as my
daughter's wedding present, continued to evolve
during construction. The highly 6gured panels
so strongly suggested a sky-scape that the birds
were a natural choice. The antique handles
were scavenged from a junk shop.
78 79
Paula Nokes
For the Love of a Tree
Artist book, Japanese paper, bookboard
7.25" x 38" x .2"
Oʻahu
Emillia Noordhoek
Got Something Winking at You: A Portrait of a Father
Alabaster
8" x 6" x 3"
Oʻahu
This work is a soliloquy to my deep love and
connection with the magni6cent being that is a
tree. This is a woodcut print and pochoir on
Japanese paper. The cover is bookboard with a
hand cut insert.
Working in stone is a collaboration between
myself and the spirit within the rock. In this
face, I see the heart of my father; his nose,
which is my nose, his dry humor, his winking
eye, and always his “one eye open,” catching me
well-behaved and rascally. His is the face of a
gentle patriarch tucking his child in bed,
smoothing her wild hair, wiping the dirt from
her skin, uplifting her, urging her forward
again.
Paula Nokes
For the Love of a Tree
Artist book, Japanese paper, bookboard
7.25" x 38" x .2"
Oʻahu
Emillia Noordhoek
Got Something Winking at You: A Portrait of a Father
Alabaster
8" x 6" x 3"
Oʻahu
This work is a soliloquy to my deep love and
connection with the magni6cent being that is a
tree. This is a woodcut print and pochoir on
Japanese paper. The cover is bookboard with a
hand cut insert.
Working in stone is a collaboration between
myself and the spirit within the rock. In this
face, I see the heart of my father; his nose,
which is my nose, his dry humor, his winking
eye, and always his “one eye open,” catching me
well-behaved and rascally. His is the face of a
gentle patriarch tucking his child in bed,
smoothing her wild hair, wiping the dirt from
her skin, uplifting her, urging her forward
again.
80 81
Helena Noordho= with Erik Sullivan
Coalescence
Ceramic, oil paint
17" x 12" x 12"
Oʻahu
Stephan Ogasawara
SPATE
Ceramic
11" x 7" x 7"
Oʻahu
The Sayoko Kay Mura Student Award
for Excellence
Our collaborative ceramic sculpture emerges
from a dynamic interplay of our artistic voices;
a dance of creativity guided by an automatic
process. Through intricate exchanges, we
engage in a rhythmic dialogue, responding to
each other's choices, sculpting a whimsical
narrative where faces intertwine and evolve.
The piece captures the essence of
transformation as expressions merge, yielding a
living testament to the power of symbiotic
artistic endeavors. With each stroke and
decision, we build upon the preceding layer,
unveiling a Iuid spectrum of emotion and
form. This shared journey celebrates the fusion
of our imaginations, resulting in a captivating
portrayal of evolving identities.
With this piece, I focused on creating
something contrasting but balanced. From the
individually attached coils to the array of
punched holes, I attempted to develop
something visually pleasing by adding and
removing clay in a chaotically controlled
manner.
Helena Noordho= with Erik Sullivan
Coalescence
Ceramic, oil paint
17" x 12" x 12"
Oʻahu
Stephan Ogasawara
SPATE
Ceramic
11" x 7" x 7"
Oʻahu
The Sayoko Kay Mura Student Award
for Excellence
Our collaborative ceramic sculpture emerges
from a dynamic interplay of our artistic voices;
a dance of creativity guided by an automatic
process. Through intricate exchanges, we
engage in a rhythmic dialogue, responding to
each other's choices, sculpting a whimsical
narrative where faces intertwine and evolve.
The piece captures the essence of
transformation as expressions merge, yielding a
living testament to the power of symbiotic
artistic endeavors. With each stroke and
decision, we build upon the preceding layer,
unveiling a Iuid spectrum of emotion and
form. This shared journey celebrates the fusion
of our imaginations, resulting in a captivating
portrayal of evolving identities.
With this piece, I focused on creating
something contrasting but balanced. From the
individually attached coils to the array of
punched holes, I attempted to develop
something visually pleasing by adding and
removing clay in a chaotically controlled
manner.
82 83
Jennifer Owen
Remember January 6
Salt-6red stoneware
17" x 7" x 7"
Maui
Yukio Ozaki
Na Pali e Koʻolau
Ceramic
18" x 10" x 10"
Oʻahu
My work has always been inspired by the
beauty of nature and, more recently, by the
grandeur of architecture, but I have long
admired artists who express views about social
or political issues in their work. On January 6
of 2021, I was 6nally moved to make my 6rst
such piece, directly inspired by that
insurrection, which is shockingly still relevant
today.
What I call “clay drawing” – relief design of a
typical Hawaiian shoreline with cliAs and
mountain images are sculpted onto this wheel
thrown vase form. It is then glazed and
reduction 6red at 2300-F.
Jennifer Owen
Remember January 6
Salt-6red stoneware
17" x 7" x 7"
Maui
Yukio Ozaki
Na Pali e Koʻolau
Ceramic
18" x 10" x 10"
Oʻahu
My work has always been inspired by the
beauty of nature and, more recently, by the
grandeur of architecture, but I have long
admired artists who express views about social
or political issues in their work. On January 6
of 2021, I was 6nally moved to make my 6rst
such piece, directly inspired by that
insurrection, which is shockingly still relevant
today.
What I call “clay drawing” – relief design of a
typical Hawaiian shoreline with cliAs and
mountain images are sculpted onto this wheel
thrown vase form. It is then glazed and
reduction 6red at 2300-F.
84 85
Junco Sato Pollack
The Scroll Series, Heart Sutra -#2 of Scroll Triptych
Sumi ink on wild-harvested kudzu handmade
paper
18" x 24" x 1"
Oʻahu
Paul Pyzyna
Water and Wine
Sassafras, wenge, maple
8" x 10.25" x 10.25" and 10" x 11" x 11"
Maui
The Earle F. Long Memorial Award
for Woodturning
Heart Sutra is #2 of the Scroll Series Triptych, in
which I explore visual forms of various
scriptures, East and West.
I explore in abstraction of the traces of human
wisdom that is contextualized from ancient to
modern, East and West. Heart Sutra is the
cannon of Buddhist sutra, handwritten in
Chinese text with brush and sumi ink on the
These two turnings of sassafras came from an
unusually large trunk and oAered a unique
opportunity of undulating grain mingling with
light producing chatoyance. After turning the
smaller of the two, I had a feeling of
incompletion until I turned the second. Now
reunited, there is a feeling of relationship and
balance.
handmade paper that I created from wild-
harvested kudzu vines, extracting 6bers by
fermentation of the entire plant, pounding and
crushing the cleaned and cooked 6bers further
to a 6ne paper pulp with which the paper was
made. Sumi ink and the red cinnabar seal
complete the mark of time.
Junco Sato Pollack
The Scroll Series, Heart Sutra -#2 of Scroll Triptych
Sumi ink on wild-harvested kudzu handmade
paper
18" x 24" x 1"
Oʻahu
Paul Pyzyna
Water and Wine
Sassafras, wenge, maple
8" x 10.25" x 10.25" and 10" x 11" x 11"
Maui
The Earle F. Long Memorial Award
for Woodturning
Heart Sutra is #2 of the Scroll Series Triptych, in
which I explore visual forms of various
scriptures, East and West.
I explore in abstraction of the traces of human
wisdom that is contextualized from ancient to
modern, East and West. Heart Sutra is the
cannon of Buddhist sutra, handwritten in
Chinese text with brush and sumi ink on the
These two turnings of sassafras came from an
unusually large trunk and oAered a unique
opportunity of undulating grain mingling with
light producing chatoyance. After turning the
smaller of the two, I had a feeling of
incompletion until I turned the second. Now
reunited, there is a feeling of relationship and
balance.
handmade paper that I created from wild-
harvested kudzu vines, extracting 6bers by
fermentation of the entire plant, pounding and
crushing the cleaned and cooked 6bers further
to a 6ne paper pulp with which the paper was
made. Sumi ink and the red cinnabar seal
complete the mark of time.
86 87
Fia Richmond
A Moment in Time
Pâte de Verre glass
5" x 4" x 3"
Kauaʻi
Fia Richmond
Tulip Dance
Pâte de Verre glass
15" x 5" x 3"
Kauaʻi
The <shcake Award
This small vessel marks a moment in time and
is meant to be enjoyed by the viewer as a vessel
of quiet repose and meditation.
Inspired by the Persian folklore of Farhad and
his beloved Princess Shirin.
Fia Richmond
A Moment in Time
Pâte de Verre glass
5" x 4" x 3"
Kauaʻi
Fia Richmond
Tulip Dance
Pâte de Verre glass
15" x 5" x 3"
Kauaʻi
The <shcake Award
This small vessel marks a moment in time and
is meant to be enjoyed by the viewer as a vessel
of quiet repose and meditation.
Inspired by the Persian folklore of Farhad and
his beloved Princess Shirin.
88 89
Joy Ritchey
Royal Connection
Fiber
28" x 22" x 22"
Oʻahu
Joy Ritchey
Three Menpachi
Collage, direct 6sh prints
9.75" x 8.75"
Oʻahu
Finding a royal palm frond on a hiking trail, I
was inspired to form it into a container. The
ends of the frond that were fraying was a
problem I solved by employing basket weaving
techniques.
The patterns from the 6sh scales inspired me to
combine the prints into a composition focusing
on this texture.
Joy Ritchey
Royal Connection
Fiber
28" x 22" x 22"
Oʻahu
Joy Ritchey
Three Menpachi
Collage, direct 6sh prints
9.75" x 8.75"
Oʻahu
Finding a royal palm frond on a hiking trail, I
was inspired to form it into a container. The
ends of the frond that were fraying was a
problem I solved by employing basket weaving
techniques.
The patterns from the 6sh scales inspired me to
combine the prints into a composition focusing
on this texture.
90 91
Carol Rocha
Wahine Kahiko
Ceramic
18" x 10" x 10"
Molokai
Allison Roscoe
Beginnings
Kapa, kozo
60" x 5"
Oʻahu
Wahine Kahiko means Vintage Woman. I love the
classic facial characteristics of local women in
Hawaiʻi. Working on this piece, eye to eye, for
many weeks, we became good friends. The puka
behind her ear is perfect for fresh Iowers. She
is 6nished with a rusting technique that I have
developed using tropical rain storms as an
accelerator.
Kapa comes from the inner bark of the
mulberry bush. It is soaked, cooked and beaten
with a wooden mallet. If it is beaten in a
Hollender beater, all of the 6bers are separated
and, when pulled up in a papermaker's mould,
it becomes a sheet of translucent kozo paper. As
a hand papermaker I appreciate the various
forms of the 6ber, as they look and feel and
behave diAerently.
Carol Rocha
Wahine Kahiko
Ceramic
18" x 10" x 10"
Molokai
Allison Roscoe
Beginnings
Kapa, kozo
60" x 5"
Oʻahu
Wahine Kahiko means Vintage Woman. I love the
classic facial characteristics of local women in
Hawaiʻi. Working on this piece, eye to eye, for
many weeks, we became good friends. The puka
behind her ear is perfect for fresh Iowers. She
is 6nished with a rusting technique that I have
developed using tropical rain storms as an
accelerator.
Kapa comes from the inner bark of the
mulberry bush. It is soaked, cooked and beaten
with a wooden mallet. If it is beaten in a
Hollender beater, all of the 6bers are separated
and, when pulled up in a papermaker's mould,
it becomes a sheet of translucent kozo paper. As
a hand papermaker I appreciate the various
forms of the 6ber, as they look and feel and
behave diAerently.
92 93
Johannette Rowley
Journey to the Moon
Ceramic
11" x 9" x 9"
Oʻahu
Hiroko Sakurai
ICE
Silk, paper, wood, ink, dye, mineral pigment
8.125" x 18" x .75"
Oʻahu
The Merit Award in Mixed Media Arts
Handbuilt stoneware, underglaze, glaze,
stainless steel. Inspired by the Year of the
Rabbit.
My process is layering paper and silk with
diAerent types of colors; dripping, brushing or
dubbing watery paste to make unexpected
shapes and the mix of colors. All this happens
without much of the artist's intention and the
results are often very organic. For this piece,
some colors seem to refuse to melt together in
one shape, somehow holding the resembled
solid shapes of ice . . . Our glaciers are melting
at an accelerating rate. In order to slow it down,
we need diAerent ways of doing things.
Layering a variety of materials and diversity of
colors, or cultures might help to unify the hope
for a solution.
Johannette Rowley
Journey to the Moon
Ceramic
11" x 9" x 9"
Oʻahu
Hiroko Sakurai
ICE
Silk, paper, wood, ink, dye, mineral pigment
8.125" x 18" x .75"
Oʻahu
The Merit Award in Mixed Media Arts
Handbuilt stoneware, underglaze, glaze,
stainless steel. Inspired by the Year of the
Rabbit.
My process is layering paper and silk with
diAerent types of colors; dripping, brushing or
dubbing watery paste to make unexpected
shapes and the mix of colors. All this happens
without much of the artist's intention and the
results are often very organic. For this piece,
some colors seem to refuse to melt together in
one shape, somehow holding the resembled
solid shapes of ice . . . Our glaciers are melting
at an accelerating rate. In order to slow it down,
we need diAerent ways of doing things.
Layering a variety of materials and diversity of
colors, or cultures might help to unify the hope
for a solution.
94 95
Domenica Sattler
Water, Earth and Fire
Ceramic
9" x 22" x 3"
Oʻahu
Terry Savage
Cool Planet
Glass
17" x 17" x 3"
Oʻahu
The two powerful elements of Water and Fire.
Both are strong and can work to purify, but can
just as easily be forces of destruction. Stay
connected to the Earth.
Fused glass with System 96 clear sheet and
glass powders after multiple kiln 6rings.
Inspired by planets, weathered landscapes, etc.
Domenica Sattler
Water, Earth and Fire
Ceramic
9" x 22" x 3"
Oʻahu
Terry Savage
Cool Planet
Glass
17" x 17" x 3"
Oʻahu
The two powerful elements of Water and Fire.
Both are strong and can work to purify, but can
just as easily be forces of destruction. Stay
connected to the Earth.
Fused glass with System 96 clear sheet and
glass powders after multiple kiln 6rings.
Inspired by planets, weathered landscapes, etc.
96 97
Ryan Schulz
End Times: Teapot
Mid range porcelain
11" x 10" x 7.5"
Oʻahu
Debbie Shimabukuro
Serenity
Glass
2" x 14" x 14"
Maui
End Times seeks to highlight the tumultuous
nature of the sixth mass extinction Earth is
currently moving through. Volcanic activity on
the work represents the all-encompassing chaos
of past extinction events that human civilization
has uniquely matched in destructive potential. I
paint using a whimsical hand to 6lter an
otherwise hopeless prospect into something
lighthearted and digestible with the illusion of
distance. At the individual level, there isn’t
much to do about the events unfolding at a
global scale. Sometimes, all that can be done is
to sit back, pour some tea and try to avoid
falling rocks.
There were multiple steps to creating this piece.
First, cutting and creating the striped pattern,
followed by cutting and fusing the solid white
pieces, and lastly, hand painting and fusing the
abstract enamel designs. Once the pieces are
completed, they are combined, trimmed and
ground to 6t perfectly, and fused into a single
square piece. Once out of the kiln, the square is
hand cut with a tile saw into a circular pattern,
edges ground smooth, then re6red into the
6nished bowl shape. Each stage of 6ring took
roughly 24 hours in the kiln. This design was
created to give the viewer a sense of calm and
order, reIecting purity and simplicity from a
complex process.
Ryan Schulz
End Times: Teapot
Mid range porcelain
11" x 10" x 7.5"
Oʻahu
Debbie Shimabukuro
Serenity
Glass
2" x 14" x 14"
Maui
End Times seeks to highlight the tumultuous
nature of the sixth mass extinction Earth is
currently moving through. Volcanic activity on
the work represents the all-encompassing chaos
of past extinction events that human civilization
has uniquely matched in destructive potential. I
paint using a whimsical hand to 6lter an
otherwise hopeless prospect into something
lighthearted and digestible with the illusion of
distance. At the individual level, there isn’t
much to do about the events unfolding at a
global scale. Sometimes, all that can be done is
to sit back, pour some tea and try to avoid
falling rocks.
There were multiple steps to creating this piece.
First, cutting and creating the striped pattern,
followed by cutting and fusing the solid white
pieces, and lastly, hand painting and fusing the
abstract enamel designs. Once the pieces are
completed, they are combined, trimmed and
ground to 6t perfectly, and fused into a single
square piece. Once out of the kiln, the square is
hand cut with a tile saw into a circular pattern,
edges ground smooth, then re6red into the
6nished bowl shape. Each stage of 6ring took
roughly 24 hours in the kiln. This design was
created to give the viewer a sense of calm and
order, reIecting purity and simplicity from a
complex process.
98 99
Donna Shimazu
Skirted JellyBsh Earrings
Sterling silver, diamonds
2" x .69" x .69"
Oʻahu
Esther Shimazu
Chill
Ceramic
8" x 6.5" x 7"
Oʻahu
The Charles E. Higa Memorial
Award of Excellence
I enjoy both fabricating and carving/casting
techniques. I 6nd great inspiration in nature,
and I like including movement in my work. I
often make matching pieces or series.
Primarily of buA stoneware with porcelain eyes,
this handbuilt hollow 6gure was 6red in
oxidation to cone 5.
Donna Shimazu
Skirted JellyBsh Earrings
Sterling silver, diamonds
2" x .69" x .69"
Oʻahu
Esther Shimazu
Chill
Ceramic
8" x 6.5" x 7"
Oʻahu
The Charles E. Higa Memorial
Award of Excellence
I enjoy both fabricating and carving/casting
techniques. I 6nd great inspiration in nature,
and I like including movement in my work. I
often make matching pieces or series.
Primarily of buA stoneware with porcelain eyes,
this handbuilt hollow 6gure was 6red in
oxidation to cone 5.
100 101
Hannah Shun
Embraced
Sterling silver
7" x 5.5" x 3"
Oʻahu
The Merit Award in Metal Arts
Mandi Siiro
Wana Remnants on Display
Hawaiian wana, black clay, black adhesive,
birch round, black wood stain, sealant
18" x 18" x 1.5"
Maui
Finding these wana remnants on the shores of
Maui, I was excited to use them in a creative
manner. I've paired them with textured black
clay to resemble lava rock.
This piece is a kinetic sculpture fabricated with
sterling silver. It explores some of the
emotional changes I went through while my
mom was bedridden. It embraces the
interwoven peace and poignancy of recalling
our dreamlike childhood moments.
Hannah Shun
Embraced
Sterling silver
7" x 5.5" x 3"
Oʻahu
The Merit Award in Metal Arts
Mandi Siiro
Wana Remnants on Display
Hawaiian wana, black clay, black adhesive,
birch round, black wood stain, sealant
18" x 18" x 1.5"
Maui
Finding these wana remnants on the shores of
Maui, I was excited to use them in a creative
manner. I've paired them with textured black
clay to resemble lava rock.
This piece is a kinetic sculpture fabricated with
sterling silver. It explores some of the
emotional changes I went through while my
mom was bedridden. It embraces the
interwoven peace and poignancy of recalling
our dreamlike childhood moments.
102 103
Rick Strini
Aquarium RuQe Bowl
Glass
9" x 16" x 28"
Maui
Janyce Sugui
Fine Day
Paper, foam board, canvas
24" x 18" x 1"
Oʻahu
Hand blown glass, then decommissioned,
broken, and fused into a solid plate. Finally, it
is slumped into the bowl shape.
It is a FINE DAY . . . for a stroll, for baking,
for 6shing . . .whatever strikes your fancy. The
red and blue colors make it not quite real, not
quite fantasy.
Rick Strini
Aquarium RuQe Bowl
Glass
9" x 16" x 28"
Maui
Janyce Sugui
Fine Day
Paper, foam board, canvas
24" x 18" x 1"
Oʻahu
Hand blown glass, then decommissioned,
broken, and fused into a solid plate. Finally, it
is slumped into the bowl shape.
It is a FINE DAY . . . for a stroll, for baking,
for 6shing . . .whatever strikes your fancy. The
red and blue colors make it not quite real, not
quite fantasy.
104 105
Jonathan Swanz
Ku & Wailele
Glass
20" x 5" x 5" and 16" x 10" x 6"
Oʻahu
Ty Tamanaha
Island Koi
Wood, bamboo, wood stain, acrylic paint
29.5" x 23.5" x 3"
Oʻahu
Working in the sign industry exposed me to the
process of sandblasting wood. I always loved the
movement of wood grain beneath the planed
surface of the wood only uncovered after
sandblasting. I’ve tried to somewhat control that
movement, then I grind out additional surface
patterns, and 6nish the work using the
traditional Japanese yakisugi (burnt cedar)
technique.
These sculptures embody the elemental
mythology of the Hawaiian islands. Ku: to
stand upright and proud, as in the phrase Ku
haʻaheo. Ku is the masculine, the primal
emerging energy of land. Wailele: Iying water,
water falling, waterfall. Wailele is the feminine,
the vibrant color of water and jungle foliage
layered in the form of a womb. The sculptures
were birthed of molten glass and breath, then
carved by hand. Together, they hold the poles of
Creation that arc the mana, giving and
sustaining life.
Jonathan Swanz
Ku & Wailele
Glass
20" x 5" x 5" and 16" x 10" x 6"
Oʻahu
Ty Tamanaha
Island Koi
Wood, bamboo, wood stain, acrylic paint
29.5" x 23.5" x 3"
Oʻahu
Working in the sign industry exposed me to the
process of sandblasting wood. I always loved the
movement of wood grain beneath the planed
surface of the wood only uncovered after
sandblasting. I’ve tried to somewhat control that
movement, then I grind out additional surface
patterns, and 6nish the work using the
traditional Japanese yakisugi (burnt cedar)
technique.
These sculptures embody the elemental
mythology of the Hawaiian islands. Ku: to
stand upright and proud, as in the phrase Ku
haʻaheo. Ku is the masculine, the primal
emerging energy of land. Wailele: Iying water,
water falling, waterfall. Wailele is the feminine,
the vibrant color of water and jungle foliage
layered in the form of a womb. The sculptures
were birthed of molten glass and breath, then
carved by hand. Together, they hold the poles of
Creation that arc the mana, giving and
sustaining life.
106 107
Margaret Teruya
Hoʻomaluhia Mauka
Fiber, fabrics
56" x 80"
Oʻahu
The Merit Award in Fiber Arts
Lonny Tomono
Untitled Vase
Ceramic
10" x 6" x 5"
Hawaiʻi Island
I create art using non-traditional quilting
methods; batik fabrics are my preferred
medium. I often 6nd inspiration for my art in
the colors, shapes, and patterns of nature. This
quilt depicts a view of the Koʻolau Range from
the Hoʻomaluhia Botanical Gardens in
Kaneohe.
I work with dichotomies – old and new, East
and West, traditional and innovative,
spontaneous and organized. These pieces are
handbuilt and 6red in a traditional Japanese
anagama wood 6red kiln for four consecutive
days, reaching cone 10 / 2350 degrees. The
glazing is a result of ash from the wood 6re
falling on the pieces, then melting at cone 10.
Margaret Teruya
Hoʻomaluhia Mauka
Fiber, fabrics
56" x 80"
Oʻahu
The Merit Award in Fiber Arts
Lonny Tomono
Untitled Vase
Ceramic
10" x 6" x 5"
Hawaiʻi Island
I create art using non-traditional quilting
methods; batik fabrics are my preferred
medium. I often 6nd inspiration for my art in
the colors, shapes, and patterns of nature. This
quilt depicts a view of the Koʻolau Range from
the Hoʻomaluhia Botanical Gardens in
Kaneohe.
I work with dichotomies – old and new, East
and West, traditional and innovative,
spontaneous and organized. These pieces are
handbuilt and 6red in a traditional Japanese
anagama wood 6red kiln for four consecutive
days, reaching cone 10 / 2350 degrees. The
glazing is a result of ash from the wood 6re
falling on the pieces, then melting at cone 10.
108 109
Kathy and Ron Tosh
Timeless Muse, Sky and Sea
Wool, monkeypod
71" x 40" x 1"
Maui
Leilani Trinka
Coastal Ewer
Mid range porcelain
9" x 4" x 3.5"
Oʻahu
OK, I admit it. Where I live is one of my
muses. Realizing that the allure of sky and sea
is far from being a unique inspiration, I strive
to 6nd non-cliché ways of expressing my awe.
I have always lived near the ocean and it
continually stirs my imagination. Coastal Ewer
was inspired by my memories of the Iora and
fauna that can be found in and around
shorelines. It has a strong visual and tactile
surface, using a combination of textures and
patterns that are applied to a traditional form.
It was handbuilt, using thinly rolled and
textured porcelain slabs.
Kathy and Ron Tosh
Timeless Muse, Sky and Sea
Wool, monkeypod
71" x 40" x 1"
Maui
Leilani Trinka
Coastal Ewer
Mid range porcelain
9" x 4" x 3.5"
Oʻahu
OK, I admit it. Where I live is one of my
muses. Realizing that the allure of sky and sea
is far from being a unique inspiration, I strive
to 6nd non-cliché ways of expressing my awe.
I have always lived near the ocean and it
continually stirs my imagination. Coastal Ewer
was inspired by my memories of the Iora and
fauna that can be found in and around
shorelines. It has a strong visual and tactile
surface, using a combination of textures and
patterns that are applied to a traditional form.
It was handbuilt, using thinly rolled and
textured porcelain slabs.
110 111
Maree von Sonn
Koi Pond with Lotus
Glass
20" x 16" x 1"
Maui
The Carol and Malcolm Koga
Emerging Artist Award
Albert Weight
I AM
Paper
13.5" x 20.5"
Oʻahu
The vibrancy and translucent qualities of glass
make it a perfect medium to reIect the light
and colors of Hawaiʻi. While glass has been
inspiring artists for centuries, kiln-formed glass
is a relatively new and still under-explored
medium - and it excites me to explore
techniques I’ve not seen used before while I
celebrate the beauty of the islands. I begin with
a concept and then dialogue with my pieces
through multiple 6rings. My love of painting,
of Impressionism and my respect for the spirit
of Aloha colors my visions.
A self portrait portraying the Hawaiian identity
I once had, but later realizing I am more
connected to the world and others as a child of
God: my true identity.
Maree von Sonn
Koi Pond with Lotus
Glass
20" x 16" x 1"
Maui
The Carol and Malcolm Koga
Emerging Artist Award
Albert Weight
I AM
Paper
13.5" x 20.5"
Oʻahu
The vibrancy and translucent qualities of glass
make it a perfect medium to reIect the light
and colors of Hawaiʻi. While glass has been
inspiring artists for centuries, kiln-formed glass
is a relatively new and still under-explored
medium - and it excites me to explore
techniques I’ve not seen used before while I
celebrate the beauty of the islands. I begin with
a concept and then dialogue with my pieces
through multiple 6rings. My love of painting,
of Impressionism and my respect for the spirit
of Aloha colors my visions.
A self portrait portraying the Hawaiian identity
I once had, but later realizing I am more
connected to the world and others as a child of
God: my true identity.
112 113
Marie Wuerker
Marlinspike Mandala/Indigo
Fiber
14" x 14" x 2.5"
Oʻahu
Lawrence Yager
IntensiBcation
Glass
7.25" x 15.5" x 0.25"
Hawaiʻi Island
Sailors elevated traditional marlinspike
seamanship to an art form during the era of the
tall sailing ships. Passages would often take
months or years, and this was a meditative way
to pass the time as well as create useful objects.
IntensiBcation was constructed using the optical
harmonics method developed by Judith Finn
Conway and Kevin O’Toole of Vitrum Studio,
Inc. in Beltsville, Maryland. This technique
stacks glass stringers into a pattern that is then
overlaid with thick glass pieces positioned into
a geometric array and then 6red. The result is
to provide magni6cation and displacement at
the thick glass locations, thereby giving the
appearance of harmonic distortion. For this
piece the number of stringers used to create
each band is increased in stages, giving the
appearance of further magni6cation and
intensity. Warm colors are randomly added to
the neutral background to further enhance the
intensi6cation eAect.
This mandala design was made with nylon and
cotton line dyed in the shibori method. It
represents journeys not only at sea but through
life with all its layers and complexities.
Marie Wuerker
Marlinspike Mandala/Indigo
Fiber
14" x 14" x 2.5"
Oʻahu
Lawrence Yager
IntensiBcation
Glass
7.25" x 15.5" x 0.25"
Hawaiʻi Island
Sailors elevated traditional marlinspike
seamanship to an art form during the era of the
tall sailing ships. Passages would often take
months or years, and this was a meditative way
to pass the time as well as create useful objects.
IntensiBcation was constructed using the optical
harmonics method developed by Judith Finn
Conway and Kevin O’Toole of Vitrum Studio,
Inc. in Beltsville, Maryland. This technique
stacks glass stringers into a pattern that is then
overlaid with thick glass pieces positioned into
a geometric array and then 6red. The result is
to provide magni6cation and displacement at
the thick glass locations, thereby giving the
appearance of harmonic distortion. For this
piece the number of stringers used to create
each band is increased in stages, giving the
appearance of further magni6cation and
intensity. Warm colors are randomly added to
the neutral background to further enhance the
intensi6cation eAect.
This mandala design was made with nylon and
cotton line dyed in the shibori method. It
represents journeys not only at sea but through
life with all its layers and complexities.
xxE 115
Carol Kouchi Yotsuda
Kauaʻi Earth Light
Mixed media
50" x 9" x 9"
Kauaʻi
I have taught painting to hundreds of students
using many diAerent colors of earth found on
Kauaʻi. Buckets of earth scraped oA the ʻāina
sat dormant on my shelves, begging for a new
artistic expression. Patterns suggesting
topography painted on handmade paper using
beautiful “dirt” from Kaumakani 6elds, Kealia
hillsides, Polihale cliAs, Niumalu pasture, and
Hanapepe Salt Ponds beach from this oldest
Hawaiian Island resulted in this lamp, a
metaphor for some of the most expensive real
estate in this country. Gum arabic and Sakura
paper helped to bond the earth to the paper.
LED lights, diAuser sheets and 6re-proof
lantern paper inside a chicken wire armature
created the inner glow.
Special thanks to Olivier Koning for the photography, Obun Hawaiʻi
for the printing, the Halekulani Corporation for their gracious hosting
of our juror, and the Downtown Art Center for creating such a vibrant
home for the Hawaiʻi art community.
Māhalo to the Donkey Mill Art Center, University of Hawaiʻi Maui
College, and Kauai Society of Artists for partnering with us to provide
our neighbor island venues.
Māhalo to our generous award sponsors: Sharon Twigg-Smith,
Elizabeth Rice Grossman, Cathy Cooke, the Peter Drewliner Trust,
the John Young Foundation, the Timothy Y. C. Choy Fund of the
Hawaiʻi Community Foundation, the Kent Family Trust and Kenny
Kicklighter, MaryAnne Long, the Hawaiʻi Handweavers Hui, friends
of Kay Mura, Maura Fujihira, Michael Schnack, and the Garden
Island Arts Council.
Māhalo
Carol Kouchi Yotsuda
Kauaʻi Earth Light
Mixed media
50" x 9" x 9"
Kauaʻi
I have taught painting to hundreds of students
using many diAerent colors of earth found on
Kauaʻi. Buckets of earth scraped oA the ʻāina
sat dormant on my shelves, begging for a new
artistic expression. Patterns suggesting
topography painted on handmade paper using
beautiful “dirt” from Kaumakani 6elds, Kealia
hillsides, Polihale cliAs, Niumalu pasture, and
Hanapepe Salt Ponds beach from this oldest
Hawaiian Island resulted in this lamp, a
metaphor for some of the most expensive real
estate in this country. Gum arabic and Sakura
paper helped to bond the earth to the paper.
LED lights, diAuser sheets and 6re-proof
lantern paper inside a chicken wire armature
created the inner glow.
Special thanks to Olivier Koning for the photography, Obun Hawaiʻi
for the printing, the Halekulani Corporation for their gracious hosting
of our juror, and the Downtown Art Center for creating such a vibrant
home for the Hawaiʻi art community.
Māhalo to the Donkey Mill Art Center, University of Hawaiʻi Maui
College, and Kauai Society of Artists for partnering with us to provide
our neighbor island venues.
Māhalo to our generous award sponsors: Sharon Twigg-Smith,
Elizabeth Rice Grossman, Cathy Cooke, the Peter Drewliner Trust,
the John Young Foundation, the Timothy Y. C. Choy Fund of the
Hawaiʻi Community Foundation, the Kent Family Trust and Kenny
Kicklighter, MaryAnne Long, the Hawaiʻi Handweavers Hui, friends
of Kay Mura, Maura Fujihira, Michael Schnack, and the Garden
Island Arts Council.
Māhalo
116 117
About Hawaiʻi Craftsmen
Hawai‘i Craftsmen is a non-pro6t organization founded in 1966
dedicated to promoting 6ne craft in the art community of Hawai‘i. We
function through the help of our dedicated board members who
contribute on a volunteer basis. Through our long-established series of
programs and events, we aim to bring craftspeople of all ages and skill
levels together to learn and share the bene6ts of creating. Our
members work in a variety of mediums, including, but not limited to,
clay, metal, glass, 6ber, wood, and mixed media. Membership bene6ts
include special rates on workshops and entry fees for exhibits.
Hawaiʻi Craftsmen is supported by the Hawaiʻi State Foundation on
Culture and the Arts, the Hawaiʻi Community Foundation, the
Atherton Family Foundation, the Cooke Foundation, the McInerny
Foundation, the National Endowment for the Arts, the Laila Twigg-
Smith Art Fund, several private family foundations, and our members.
About Hawaiʻi Craftsmen
Hawai‘i Craftsmen is a non-pro6t organization founded in 1966
dedicated to promoting 6ne craft in the art community of Hawai‘i. We
function through the help of our dedicated board members who
contribute on a volunteer basis. Through our long-established series of
programs and events, we aim to bring craftspeople of all ages and skill
levels together to learn and share the bene6ts of creating. Our
members work in a variety of mediums, including, but not limited to,
clay, metal, glass, 6ber, wood, and mixed media. Membership bene6ts
include special rates on workshops and entry fees for exhibits.
Hawaiʻi Craftsmen is supported by the Hawaiʻi State Foundation on
Culture and the Arts, the Hawaiʻi Community Foundation, the
Atherton Family Foundation, the Cooke Foundation, the McInerny
Foundation, the National Endowment for the Arts, the Laila Twigg-
Smith Art Fund, several private family foundations, and our members.
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